"The film flows like a Joy Division song: moody and ethereal until it escalates into a burst of sonic violence."
— Anna Bogutskaya, Time Out
"An earnest romance that’s also a work of gauzy, poetic horror, the film is about transgression and transformation."
— Isaac Feldberg, Inverse
"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."
— Lee Marshall, Screen Daily
"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."
— Clint Worthington, Consequence
"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."
— Mark Olsen, Los Angeles Times
"It’s so carefully made, and so lovely to look at, even at its grisliest, that it ends up seeming a little remote, rather than a movie that draws you close. Still, its actors give you something to watch every minute."
— Stephanie Zacharek, TIME Magazine
"As grisly and disturbing as Bones and All is, the film strikes me more as a romance, a coming-of-age movie, and/or a lovers-on-the-run chronicle. Dark and bloody, definitely; but also, at times, sweet and hopeful."
— Marjorie Baumgarten, Austin Chronicle
"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."
— Martyn Conterio, CineVue
"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."
— Luke Hicks, The Film Stage
"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?"
— Jane Crowther, Total Film
"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."
— Robbie Collin, The Telegraph
"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."
— Tricia Gilbride, We Got This Covered
