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Russell, who broke through as a talent to watch in "Waves" and the Netflix remake of "Lost in Space, " impresses mightily as Maren, a shy teen living with her nomadic dad (Andre Holland), who curiously locks her in her room at night. He has his reasons, all of them bloody. There are, no doubt, powerful metaphors here of growing up queer. That doesn't stop Maren from opening a window and sneaking off to a slumber party where she snacks on the manicured finger of a new friend who freaks out. Guadagnino's darkly dreamy film, which opens in select theaters Friday, has some of the spirit of iconic love-on-the-run films like Arthur Penn's "Bonnie and Clyde, " Terrence Malick's "Badlands" and Nicholas Ray's "They Live By Night" — movies that as open-road odysseys double as portraits of America. And the sense of abandonment is piercing. Drawing closer to Lee has an added layer of danger. But while there is certainly gore in "Bones and All, " there is also beguiling poetry. Released: 2022-11-18. "Our hearts and our bodies are given to us only once, " he said in "Call Me By Your Name. " "Bones and All, " too, yearns for a free, full-body existence.

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But their relationship to society is different. So it's both a hearty recommendation and a warning to say that he brings as much passion and zeal to the lives of the cannibals of "Bones and All" as he did to the ravenous eroticism of "I Am Love" and the lustful awakenings of "Call Me By Your Name. " Her father, Frank, is played by André Holland, an actor of such soulful presence I remain befuddled why he's not in everything. In a cruel world full of fearsome characters more rapacious than they are — Michael Stulhbarg and David Gordon Green play a pair of particularly ghoulish hicks — they try to forge a love. His role here couldn't be any more different. Sporting a mullet, a fedora and an unbuttoned shirt, his charismatic cannibal seems to be channeling James Dean. They hold the emotional center of this outlaw lovers road movie like the true stars they are. But, well, cannibalism just has a way of throwing things off balance. Running time: 121 minutes. "Bones and All, " an MGM release, is rated R by the Motion Picture Association for strong, bloody and disturbing violent content, language throughout, some sexual content and brief graphic nudity. They aren't fighting it.

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He certainly catches Maren's eye, who eagerly joins him in a stolen pick-up truck. The result is something that feels both archetypal and otherworldly. It's a match made in cannibal heaven. Three and a half stars out of four. His fraught family history ropes in other struggles of young adulthood. But don't be put off. Rylance soon moves over for Chalamet, whose character, Lee, meets Maren while she's shoplifting. Luca Guadagnino's "Bones and All" gives them that, and more, in casting Taylor Russell and Timothée Chalamet as a pair of young cannibals in a 1980s-set road movie that's more tenderly lyrical than most conventional romances. She's never known her mother. At a deserted bus station, Maren is stalked by Sully (Mark Rylance), a stranger danger who dresses like a deranged country singer and sniffs her out as a fellow eater. Both films wrestle with what we inherit from our parents and what we sacrifice for the sake of conformity. Like the couples of those films, Maren (Russell) and Lee (Chalamet), as cannibals, are technically law-breakers. Vampires had their day in the sun. Follow AP Film Writer Jake Coyle on Twitter at:

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Later, when he sings along to KISS' "Lick It Up, " she's a goner. "Bones and All" can be both brutal and beautiful. Guadagnino, the Italian director, is one of our most lushly sensual filmmakers. Power lines and nuclear power plants loom in the frame early in "Bones and All. " Leading her back to a nearby house, he explains the ways of being an Eater. On a stopover at night, Maren learns there are others like her. "You can smell lots of things if you know how, " Sully says. Particularly in its vivid, unforgettable early scenes, "Bones and All" digs into her dawning awareness of her cravings — who she is, how she got this way, what it will cost her to be herself. It's the romantic sweetness of the two leads, even playing lovers ravaged by killer impulses, that carries you through their fiendish odyssey. Heartthrob Timothée Chalamet, with skills as sharp as his cheekbones, and Taylor Russell, an actress with a stunning future, play two fine young cannibals in "Bones and All, " now in theaters.

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A mysterious man (Mark Rylance) beneath a streetlight introduces himself as Sully, and explains he could smell her blocks away. But his words from that earlier film speak to much of "Bones and All. " On the table are an envelope with some cash, her birth certificate, and a tape recording of Frank recounting her first eating (a babysitter). Rylance, an Oscar winner for "Bridges of Spies, " delivers a virtuoso performance as this aging predator who only feeds on those who are dying. Stulhbarg, you might remember, had a pivotal role as the father in "Call Me By Your Name. " Based on Camille DeAngelis' young-adult bestseller, the movie—set in Middle America in 1988—is a tale of first love broken by an addiction stronger than drugs. When Maren runs home to daddy, not for the first time, they hit the road in a flash.

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Adapting a novel by Camille DeAngelis, director Luca Guadagnino ( Call Me by Your Name) has crafted a work of both tender fragility and feral intensity, setting corporeal horror and runaway romance against a vividly textured Americana, and featuring fully inhabited supporting turns from Mark Rylance, Michael Stuhlbarg, Jessica Harper, Chloë Sevigny, and Anna Cobb. Will he kiss her or swallow her? Abandoned by her father, a young woman embarks on a thousand-mile odyssey through the backroads of America where she meets a disenfranchised drifter.

Seeking her mother, she buys a bus ticket and heads to Ohio. Their angelic faces hide an inner ruin that feels painful and tragic as the terror of loneliness closes in. Q&A with Luca Guadagnino, Taylor Russell, and Chloë Sevigny on Oct. 6. On television and the radio, we get snippets of Rudy Giuliani and Ronald Reagan. Now, it seems to be cannibals' turn for their bite at the apple. But the film isn't a neatly drawn parable. "Whatever you and I got, it's gotta be fed, " he says. In an Indiana grocery store, Maren encounters Lee. In Maren's self-discovery there's something elemental about alienation and self-acceptance — and how devouring another might save you from devouring yourself. The movie, overwhelmingly, is in the eyes of Maren. He's perverse perfection. Maren's road trip begins as a search for her institutionalized mother (Chloë Sevigny) from whom she's inherited her scary appetite. That's the movie, which deserves to stay spoiler free such are the bombshells that Guadagnino drops without warning.

Her Maren is such a sensitive, curious creature — hungry less for flesh than for affection, acceptance and a home. Soon, he's bent over a body in his underwear, with blood smeared across his face. These are reminders, I think, of power dynamics in the 1980s for all those who lived outside a narrow, heterosexual spectrum. Soon, she meets another young drifter, Lee (Timothée Chalamet), who understands her more than anyone she's ever met, and the two set out on a cross-country journey, satiating their dangerous desires and reckoning with their tragic pasts.

Chaos ensues, Maren flees and when she gets home, her father's rapid response makes it clear this isn't their first time rushing to uproot. You have the sense of seeing a movie that in shape and style reminds you of countless others. A United Artists release. In a startling, star-making performance, Taylor Russell plays Maren, a teenager who has just moved to a small town in Virginia with her father (André Holland). They aren't outsiders by choice. If you've seen what Guadagnino can do with a peach, it should no doubt concern you what he might manage with a forearm.