Tag Archives: Jessica Harper

CINEMA REVIEW: BONES AND ALL (2022)

CINEMA REVIEW: BONES AND ALL (2022)

Directed by Luca Guadagnino

Screenplay by David Kajganich

Based on Bones & All by Camille DeAngelis

Produced by: Luca Guadagnino, Theresa Park, Marco Morabito, David Kajganich, Francesco Melzi d’Eril, Lorenzo Mieli, Gabriele Moratti, Peter Spears, Timothée Chalamet

Cast: Taylor Russell, Timothée Chalamet, Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, Jessica Harper, Jake Horowitz, Mark Rylance, etc.

Cinematography: Arseni Khachaturan

*** CONTAINS STORY SPOILERS ***



After reviewing The Menu (2022) last time out, here’s another film where food and eating and death are at the very marrow of the narrative. I must confess though it’s very difficult to discuss the excellent hybrid genre film, Bones and All (2022) without giving away the main ingredient within this film. So, I give prior warning that I’m going to have to reveal it in the review. I will state therefore if this film had been called, Fine Young Cannibals, I would not have been surprised in the least. Because the theme of people eating human meat is at the heart of the story.

Bones and All (2022) is not a B-movie zombie film with bloody images of flesh-eating monsters devouring people. Yes, there are some gory scenes to satisfy horror fans, however, this arthouse adaptation of Camille DeAngelis’ 2016 novel, is more subtle and sympathetic to the young protagonists with a yearning for mortal flesh. Here murder and cannibalism occur, but it is represented as a curse for both Maren (Taylor Russell) and Lee (Timothee Chalamet), who struggle with their consumptive urges. Moreover, the feeding on flesh is highly symbolic, representing a sensual and almost religious experience for the couple. As they travel across various States, they grow as characters and people. They also explore their own love and share other people’s bodies, romance bleeding through in the process.



Bones and All (2022) is set in the 1980s. It begins with teenager Maren living with her father (Andre Holland) in Virginia. After hitting eighteen years of age, and causing a particularly nasty event at a friend’s sleepover, she is abandoned by him. Left with a cassette tape explaining her family history, Maren sets out to find her mother, meeting Lee along the way. The two are immediately drawn to each other and while driving set about sating their desire for fresh meat. This causes conflict between the couple as it is clear they are not comfortable with the nasty business of killing. Unlike the pursuing serial-killer-trophy-collecting antagonist, Sully (Mark Rylance). He is a venal force of nature, taking animalistic glee during the sacrifice of his victims.

Bones and All (2022) is directed with glacial majesty by Luca Guadagnino. He expertly blends and cooks the genres of horror, period drama, rites-of-passage, romance and road movie with a well balanced approach to tone. Extracting attractive performances from Chalamet and Russell, their onscreen chemistry is potent and touching. Acting legend Mark Rylance steals the show though as the slithery Sully. Overall, I felt the film could have been cut for pace slightly and the Romeo and Juliet-with-a-twist ending was too tragic for me. I think, despite their cannibalistic needs, Maren and Lee deserved a future together. But ultimately it’s all a matter of taste.

Mark: 8 out of 11


FILMS THAT GOT AWAY #1 – REVIEW – SUSPIRIA (2018)

SUSPIRIA (2018) – FILM REVIEW

Directed by: Luca Guadagnino

Produced by: Marco Morabito, Brad Fischer, Luca Guadagnino, Silvia Venturini, Francesco Melzi d’Eril, William Sherak, Gabriele Moratti

Screenplay by: David Kajganich – Based on Suspiria (1977) by Dario Argento and Dari Nicolodi

Cast: Dakota Johnson, Tilda Swinton, Mia Goth, Angela Winkler, Ingrid Caven, Elena Fokina, Chloe Grace Moretz, Malgosia Bela, Lutz Ebersdorf, Jessica Harper etc.

Music by: Thom Yorke

Cinematography: Sayombhu Mukdeeprom

**MAY CONTAIN SPOILERS**

There are so many films released that it is virtually impossible to see them all. Plus, even if you didn’t have to work to earn a damned wage or physically need sleep you still wouldn’t be able to watch everything at the cinema. More specifically though, we may choose NOT to go to see a film on the big screen for certain reasons. Collectively, I consider these movies to be “one’s that got away!”

Thus, in a new section called, unsurprisingly, FILMS THAT GOT AWAY, I will be reviewing films which I missed first time round at the cinema and have subsequently caught up with on Sky, Amazon, Netflix, Blu-Ray or even good old-fashioned terrestrial television. I will consider the film critically as entertainment and why I missed it first time round. As usual the film will be marked out of eleven.

When the UK release of Suspiria (2018) was announced there were many reasons I was immediately put off from wanting to see it. Firstly, despite having watched it three times, I genuinely could not stand the original Dario Argento film. I know people consider it a horror classic; however, I think story wise, it’s a bad film. It’s neither scary from an emotional point-of-view or actually makes any sense logically. I know it’s meant to be based on surreal and nightmarish imagery, montage and performance, but the story or characters did not connect with me. The colour design, gore and soundtrack are outstanding but, overall, I felt I was trapped watching the manic outpourings of an Italian psychopath.

The second reason I did not want to watch it is I haven’t always got on with Luca Guadagnino’s cinematic works. Don’t get me wrong, he is a brilliant filmmaker. However, I find him an indulgent artist whose tone, pace and direction seems haphazard. Of the films I have seen, I Am Love (2009) was a brilliant character study, anchored by a stunning Tilda Swinton performance. But A Bigger Splash (2011) and Call Me By Your Name (2017), were expertly constructed but indulgent and over-rated travelogues littered with narcissistic bores. Nonetheless, I really liked Suspiria (2018). It is almost, but for Guadagnino’s typical excesses, a horror masterpiece.

Set in 1977 (when the original was released), at the height of the Cold War in divided Germany, Suspiria, is a heady mix of rites of passage, cold war and horror genres. There are many narrative strands with which the screenplay, by David Kajganich, attempts to balance. Further, we also have personal, political, religious, artistic, gender and communal themes prevalent through the story. While it’s an ensemble cast the focus is Dakota Johnson’s Susie. She is a young aspiring dancer, from an Amish background, who joins the world-famous Markos dance company. In the process she is determined to impress Tilda Swinton’s commanding mentor. The parallel narrative involves psychiatrist Dr Josef Klemperer and his investigation into a missing patient (Chloe Grace Moretz); who also happens to be a dancer from the troupe.

As the story unfolds Susie proves herself an incredibly powerful dancer. At the same time, it is revealed that the elders and teachers of the dance group are hiding a sinister secret with darkness and ritual to the bloody fore. Memorable dance sequences full of beauty, energy and gore dominate, with Dakota Johnson giving an impressively physical acting portrayal. I also liked the nuanced control within her character as she grows stronger with each dance. Meanwhile, further dark events occur as Dr Klemperer’s investigations draw him closer to the troupe’s shadowy doors.

As I said, Suspiria is almost a horror masterpiece. The filmmaking, cinematography, art direction, choreography and score by Thom Yorke all collide to create an incredibly tense and terrifying experience. Moreover, while I was fully committed to the characters in the dance troupe and Susie’s movement up the ranks, the choice to juxtapose the socio-political events seemed to belong in another film. The religious context and notions of family and matriarchal dominance were incredibly powerful too and served the horror well. However, Guadagnino, in my humble view should have shaved some scenes from the running time. While I much prefer this film to the Argento original, a further edit for pace would have made this even better. Nonetheless, it had me riveted throughout through the sheer quality of filmmaking. I was incredibly impressed by the melding of dance and death. Indeed, the final orgiastic ritual with buckets of blood, decapitations and gnarled monsters was supernaturally unforgettable.

Mark: 9 out of 11