BONES AND ALL
Lucky audiences at NYFF60 had the chance to experience BONES AND ALL, one of the buzziest films to come out of the Venice Film Festival, with its eight-and-a-half-minute standing ovation. At this point, it is hard to imagine that you haven’t heard about it. It is thoroughly accurate to describe it as the following: “A coming-of-age romantic cannibal road film” Directed by Luca Guadagnino, Bones and All comes from a screenplay by David Kajganich, based on the 2015 novel of the same name by Camille DeAngelis. It centers on Maren’s father abandoning her at age eighteen, leaving behind an audio tape as her only guidance and explanation. This narration is an overarching theme during Maren’s journey. Left to fend for herself after years of life on the run with her father, she stumbles across another “eater” named Sully. When he makes her uneasy, she runs again, only to bump into Lee on the road. The two form a bond based on survival and their need to consume flesh. As they travel cross country, the menace from other eaters proves to be the most spine-chilling aspect of their relationship.
Part of this story features Maren tracking down the mother she’s never met. In what would essentially prove to be a brilliant monologue, Chloë Sevigny‘s brief screentime makes you sweat. Michael Stuhlbarg is incredibly unsettling as fellow drifter Jake. When you discover that he’s teaching a non-eater how to do what they do, it feels wrong and so very right. Stuhlbarg crushes every role. Here, it took me a few minutes to realize it was him. Jake is a dirty, overalls-wearing backwoods soul and proud of it. It’s scary good.
Mark Rylance, who I have had the privilege of seeing on Broadway in Twelfth Night (yes, I had the coveted seats onstage), is hands down the most uncomfortable aspect of Bones and All. His performance borders on caricature and yet somehow works like gangbusters. From his straggly ponytail and fedora to his flair-spangled jacket, Rylance will have you eating out of the palm of his hand, whether you want to or not. Pun intended.
Timothée Chalamet as Lee is nothing but charming. He oozes casual suave. It should come as no surprise to anyone who knows his work. Bones and All reconnects Chalamet with Luca Guadagnino. One could argue that Call Me By Your Name was Chalamet’s star vehicle at NYFFF55. Bones and All is just as bold. Chalamet brings a punk edge and a caring nature opposite Taylor Russell. As Maren, she’s measured and soft. Her approach to adults shows a curated maturity. It’s a perfect balance to Chalamet. Together, they capture the innocence of young love, even if they’re pulling the wool over people’s eyes for a meal.
Bones and All is one of the most visceral films in history. As a horror fan (one might even call me a fanatic), I have seen and heard it all. Bones and All had me squirming and gagging and utterly entranced. It gives new meaning to “a visual feast for the eyes.” It will not be a film for everyone. It is best to go into your viewing experience with little to no knowledge, but that may feel like a bait and switch to some viewers. You can find out if you have the stomach for BONES AND ALL when A24 releases it on November 18th. Bring an open mind, and leave the snacks at home.
There are moments in the film that appear unusual until you realize the larger picture. Calum frustratingly attempts to teach Sophie a self-defense technique that feels inappropriate for her age. He is unbothered by her confession of a first kiss and more focused on the fact that she felt comfortable sharing about her life. He offers her a sip of beer. What draws us into the screenplay is an intoxicating mix of awkward moments juxtaposed by a relationship one strives to have with their offspring. The care Calum expresses, the time feels weighted and invested.
Tora the Trucker Cat, truck driver David, and girlfriend Destiny travel together from state to state for months. Tora has a leash to explore national parks and a seat in David’s backpack when she needs a break. Tora has become the focus of David’s newfound photography skills. She’s a bit of a celebrity that’s allowed David to express himself in ways he never thought possible.
Sir Anthony Hopkins plays Paul’s grandfather, Aaron. Hopkins nails the role with charm and grace. He is a crucial moral compass for Paul but is also part of the broader problem. Gray explains how this microcosm of one family is just as relevant today, stating that one can be oppressed and still be an oppressor. This idea is never more true as we watch Paul begin to understand white privilege while simultaneously wrestling with his desire to be an artist and feeling unsupported, behavioral acting out, and the subsequent physical discipline.
Let me explain why the cast’s explanations became of great significance. The most successful aspect of Gray’s script is the nuance in character building. These are not sugar-coated versions of people, but characters in volatile times, racially and economically. Their flaws are exponentially recognizable, regardless of the year. Armageddon Time could be happening right now. The cynical nature of history and generational trauma will have audiences’ hearts in their throats, shaking their heads in shame for much of the film. Therein lies the film’s strongest achievement.
Justin P. Lange‘s The Visitor is an immensely enjoyable horror film populated by a protagonist who has certainly never heard this joke. Things pretty quickly go amiss when Robert (Finn Jones) relocates from London to his wife’s small town. While settling into her childhood home, Robert finds a mysterious portrait in her attic. It is of a man referred to only as “The Visitor”, and he bears a striking resemblance to Robert.
There is still much to like in The Visitor. The core performances are uniformly strong. Jones and McNamee have nice unforced chemistry, and I wished the film had given us more time with them. It is effectively paced (86 minutes!) and contains several genuinely frightful and inventive scares. I especially loved the way the film leveraged the biblical plagues without feeling the need for too much supporting exposition.
The script is relentlessly chilling. Because the audience has more information than anyone else, it feels as though the characters are sitting ducks. We are right alongside Sara as she witnesses her tormentors thrown into the back of a serial killer’s van. She says nothing, both out of fear and perhaps relief. Those that have ever been on the receiving end of horrible words and despicable actions will undoubtedly wince throughout the film.
PIGGY also speaks to the weight of parental support. We find Sara’s mother to be a nagging, uncaring shrew, while her father pays attention to her with genuine love. Her woes are exacerbated by her parents owning the local butcher shop, leading vile peers to dub her “Piggy.” One of the girls, Claudia, has a deeper connection to Sara based on her delay tactics in teasing and a matching bracelet with Sara.
The townspeople are religious fanatics, believing María José triggered the apocalypse years ago with the birth of her son. Exacerbated by nosy neighbors, weak church figureheads, and zealots with a modicum of power, fear takes hold when little Lucía appears to use supernatural powers in gruesome acts of revenge. Everyone Will Burn culminates in a violent confrontation that’s intensely rewarding as a genre fan. Do not move a muscle when the credits roll. The best moment is yet to come.
Macarena Gómez brings a manic energy to the films. Warranted by the emotional torture of everyone in her life, her deliberate descent into pure red hot chaos is glorious. As Lucía, Sofía García skillfully walks the line between vulnerable and terrifying. She is nothing short of captivating. Her chemistry with Macarena Gómez is perfection.
Bravo to the costume and lighting teams. The no holds bar fight choreography is shocking and applause-worthy. EVERYONE WILL BURN harkens back to classic European horror and still manages to remain fresh and fantastic.
Alone in a cruel near-future world, 13-year-old Vesper experiments with what’s left of her surroundings to nourish her and her paralyzed father. Abandoned by her mother, Vesper keeps Darius’ body alive with her bio-hacking skills and uploads his full consciousness into a small droid. While she and others suffer immensely, the wealthy exist in private, enclosed spaces called “Citadels.” They produce seeds that the remaining poor vie for to survive in the harsh environment. After someone sabotages their generator, she reaches out to her Uncle, the leader of a group that cultivates children’s blood for seed trade. When Vesper discovers a young woman from the nearby Citadel passed out in the woods, she imagines a way out. VESPER is a gorgeous film about control and climate change wrapped in a glorious sci-fi narrative. 
Rosy McEwan plays Camellia with a complex mix of yearning and practicality. She is a slick foil for Vesper. McEwan’s grace and control are all the more stunning when given the opportunity to break. Our titular role comes to life with the sensational performance of Raffiella Chapman. Her raw vulnerability jumps off the screen. There is no denying she is a star. Her ability to carry this film from beginning to end is a wonder. 
Natascha McElhone is elegant and effortlessly charming. CARMEN is essentially a later coming-of-age tale. McElhone’s wide-eyed exploration of life is enchanting, funny, and honest. Shot on the beautiful island of Malta, which if you’ve never been, I suggest you visit. The script’s structure utilizes flashbacks of Carmen’s elusive backstory. Writer-director Valerie Buhagiar brings unbridled joy and hidden complexity to audiences. CARMEN is a delight.
Essie Davis helms this tale of morality, redemption, and love. Davis’ no holds bar performance of raw reactive emotion will have you on your feet. You cannot help but root for Bunny. Every opportunity comes with an unexpected challenge, but Davis’ slick attitude and ingenuity keep the audience in the palm of her hand. Bunny’s backstory is heartbreaking. The weight of her unresolved trauma is in every breath. It’s a stunning turn.
Uncork’d Entertainment has acquired SAWED OFF, a new supernatural horror feature based on a comic anthology story and starring Eva Hamilton (RUIN ME, DEATH KISS), Jody Barton (UGLY SWEATER PARTY), and Trae Ireland (13/13/13).
Hunter Johnson (IRRATIONAL FEAR) produces and directs. The screenplay is by Barton, Johnson, and Chuck Wagner, based on Wagner’s Eclipse Comics story “Bag Limit,” published in TALES OF TERROR in 1986.
Youssouf arrived on the shores of Naples in a rubber dinghy from the Ivory Coast in 2016. Alone and with nothing to his name, he endured discrimination, educated himself, and began to work. Engaged and with a child, his goal is to be present for her. Adopted at the age of five from Moscow, Larissa found herself bullied for her appearance, leading her to abuse alcohol. Resiliency and self-love push her forward in life.
One of the most immersive cinematic nature series ever made, Nat Geo’s Epic Adventures with Bertie Gregory is a wow. I was in relentless awe of the up close and personal footage of the arctic life, be it takes, seals, penguins, and much more. 
The entire cast is breathtaking. Our leading lady, Vicky Krieps, gives a mesmerizing performance as a woman unraveling. Each beat is carefully curated, mired in sadness and pure love. Krieps’ unadulterated vulnerability demands your attention. It is an award-worthy turn. Hold Me Tight is an extraordinary study of grief and moving forward. You cannot walk away from this film unchanged.
Check out the newest trailer for the film and our 
As revelations of the allegations against Lee-Curtis come to light, the complex nature of the story gets stickier. The dialogue is laugh-out-loud hilarious. Ebo makes full use of righteous indignation to excuse/cover sins. The script mirrors real life so accurately it is shocking. The hidden shame, faux outrage, and especially the hypocrisy, every character in Honk For Jesus is lying to themselves.
Regina Hall plays Trinitie Childs. Doing her best dutiful wife with a plastered smile, Hall is perfection. Each beat jumps off the screen. But there are cracks beneath the surface, waiting for the precise moment to break free. Sterling K. Brown as Lee-Curtis Childs is an explosive ball of energy. It’s a powerful and physical performance. Brown’s relentless commitment to the absurd makes this film as intriguing as it is funny. The chemistry between Hall and Brown is spectacular. It is an equal partnership of fierceness. The support they give to one another in every scene is palpable.
Honk For Jesus. Save Your Soul. is a fight for the Childs’ last remaining shred of dignity. The balance of over-the-top farce and deep-seated issues creates a hell of a story. Blind faith is a dangerous thing. Adamma Ebo knows it, and so too shall audiences.
Rageaholic has a distinct three-act storytelling structure. Act one finds Detective Fukama in a drug and alcohol-assisted haze of aggression. When his behavior makes for negative PR for the force and the local community of Fujimi, he is shipped off to the United States for some unique rehabilitation. 
Act three; those driven from society now reside in squalid tent cities but thrive in their kinship. Confronted with how he ultimately fits into the grander scheme of control, Fukama must find the balance between good and evil to set things right. The depraved violence that ensues feels right. I’d be lying if I didn’t admit to wincing and a lot of cheering.
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