The Playlist by Jack King

For all of the blood, guts, and gore, for all of the stomach-cramming gluttony, here’s a story brimming with extraordinary romanticism. What emerges, by the end, is one hell of an ode to giving yourself to the ones you love: your bones and all.

The Guardian by Peter Bradshaw

Bones And All is an extravagant and outrageous movie: scary, nasty and startling in its warped romantic idealism.

CineVue by Martyn Conterio

Bones and All, like the best horror movies, finds poetry in the frightening, in the transgressive, in the perverse. It mines light from darkness and transforms it before our eyes into something universal, shining and true, no matter how ephemeral.

We Got This Covered by Tricia Gilbride

Bones feels like a culmination of what Luca does best, bringing in the body horror of Suspiria with the tenderness of Call Me By Your Name, creating a haunting tale of young love and the compromises of self-preservation. Based on the novel by Camille DeAngelis, it's a wholly original entry in the young adult fantasy genre and some of Guadagnino's strongest work to date.

Los Angeles Times by Mark Olsen

Part horror film, part coming-of-age tale, part romance, the adaptation of Camille DeAngelis’ young adult novel Bones and All is a small marvel, unsettling and heartbreaking in equal measure.

The Independent by Clarisse Loughrey

With Bones and All, Guadagnino has pulled sweet tragedy out of marred and bloodied flesh.

The Observer (UK) by Wendy Ide

In the elegant balance of these seemingly incongruous elements, Guadagnino has outdone himself.

IndieWire

Bones & All is fundamentally a beautifully realized and devastating, tragic romance which at multiple moments would have Chekhov himself weeping as the trigger is pulled.

IndieWire by Leila Latif

Bones & All is fundamentally a beautifully realized and devastating, tragic romance which at multiple moments would have Chekhov himself weeping as the trigger is pulled.

The Film Stage by Luke Hicks

The chemistry between Chalamet and Russell is off the charts. Their love is desperate, passionate, true, confused and confounded, perpetually crushing under the ethical crisis they face in killing innocent people to survive, not to mention the fact that they feel very differently about it.

Consequence by Clint Worthington

There’s something, well, deliciously appetizing about Bones and All’s oddball romance, from Guadagnino’s sensitive approach to the material to its staggering work from both leads.

Screen Daily by Lee Marshall

By the end, loving and eating, wanting and devouring are made to converge in ways that are both gruesome and fascinating, thought-provoking and oddly touching.

The Hollywood Reporter by David Rooney

Guadagnino has made a kind of emo horror movie. He’s far less interested in the shock factor than the poignant isolation of his young principal characters and the life raft they come to represent to one another as they slowly let down their guard.

Total Film by Jane Crowther

Nodding to Badlands, Natural Born Killers, My Own Private Idaho, even The Lost Boys, Bones And All is as interested in loneliness, connection, self-identity, and fiscal invisibility as compulsion. Who misses the murdered if they don’t ‘exist’? And what adolescent hasn’t felt the creeping dread that their needs or bodies are out of step with society?

The Telegraph by Robbie Collin

Russell, a revelation in Trey Edward Shults’s under-seen Gen-Z melodrama Waves, is career-makingly good here, while Chalamet’s tender, tousled allure and razor-edge of raw danger powerfully recall the late River Phoenix: his Lee is a hustler to the core, always calculating where his next meal is coming from, and who he’ll have to sink his teeth into in order to get it.

Collider by Brian Formo

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

BBC by Nicholas Barber

What's captivating about Bones & All is that it is so understated. The first few gory scenes suggest that Guadagnino has made an outrageous black comedy that gets its startled laughs and screams by contrasting the conventions of a coming-of-age romance with those of an X-rated monster movie. But soon Bones & All becomes entirely straight-faced. It isn't a horror film or a comedy, it's a sincere, sweet indie road movie that happens to feature bloodthirsty serial killers.

Variety by Owen Gleiberman

Bones and All is a concept in search of a story. The film doesn’t draw us in. It stumbles and lurches and seems to make itself up as it goes along. You may feel eaten alive with boredom.