4 Attachment(s)
Bones & All Review: Taylor Russell Is A Standout In Haunting, Lukewarm Drama
Bones and All, directed by Luca Guadagnino from a screenplay by David Kajganich, is many things — a romance, a coming-of-age story, a film about loneliness, and, sometimes, a horror. The latter is the weakest aspect of the film, and Guadagnino dips his toe in the genre’s waters before pulling back. But while Bones and All is too restrained to be a proper horror film, there is depth to be found in its other aspects. Often languid, and surprisingly haunting, Bones and All isn’t always strong, but it’s bolstered by a great leading performance from Taylor Russell and excels in its exploration of human connection.
Adapted from the novel by Camille DeAngelis, Bones and All tells the story of Maren (Taylor Russell), a teenager who is unlike any other. She’s a loner, but the audience quickly learns why: Maren is a cannibal and has been since birth. Her father (André Holland) has always known, and they’ve had to move from place to place to keep themselves safe. After Maren turns 18, her father abandons her, leaving her to fend for herself. On her own for the first time, Maren first meets Sully (Mark Rylance), who teaches her the ropes — how and when to feed, as well as which victims to choose to not draw any attention to herself. Maren later meets Lee (Timothée Chalamet), yet another reclusive cannibal with his own set of personal problems. The two take a road trip to find Maren’s mother, all while falling in love in the process.
Bones and All is elevated by Taylor Russell’s performance, which is quiet and understated, but full of nuance and a depth that suggests plenty of contemplation. The film’s script is rather thin, but Russell mines a lot out of it. Mark Rylance as Sully is unsettling and magnetic despite the character’s intentions. The actor settles into Sully’s strangeness easily and turns his scenes into the most intense ones the film has to offer.
The film can feel rather aimless at times, especially in the middle when it begins to meander, but it finds itself in its exploration of human connection, and what loneliness — paired with a sense of entitlement and sexism — can do to someone who’s been by himself for a very long time. People aren’t meant to be alone, and though there is no deep sense of community among the cannibals, Maren finds solace and love with Lee, and their bond is strengthened because of who they are. In these moments, the story soars as it allows the two characters to learn about each other, grow, and perhaps realize that they can continue living on the outskirts of society so long as they have each other.
While the film isn’t a true horror, there are story elements and moments that can be quite haunting, lingering and clinging to the characters and affecting their emotional journeys. That said, Bones and All could have benefited from a more macabre setting, if only to make the film’s events more chilling in a bid to ramp up the tension, which is rather lackluster. Guadagnino, who previously directed Call Me By Your Name, doesn’t fully engage with the depth that floats to the surface and Chalamet’s character, along with his performance, doesn’t have enough sincerity to make everything work.
And yet, Bones and All remains watchable and engaging when its focus turns inward and toward the characters. Their personal journeys, particularly Maren’s, can be intoxicating and thoughtful, filled with sorrow and hope, beauty and anger. The film grows tedious after a bit before picking back up again and, as it unfolds its layers, it finds the humanity, love, and hope that is steeped into its story.
Bones and All released in nationwide theaters Wednesday, November 23. The film is 131 minutes long and is rated R for strong, bloody, and disturbing content, language throughout, some sexual content and brief graphic nudity.
