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What to watch: Cannibal love story 'Bones and All', 'Fleishman is in Trouble' looks at post-divorce life, and more

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Timothee Chalamet has literally shut down the red carpet at the Milan premiere of his new movie ‘Bones and All’, or at least, his fans did

Bones and All

Rated R, 2 hours 10 minutes, in theaters Nov. 18

"Bones and All" mashes up a lot of genres, coupled with the promise of a "Call Me By Your Name" mini-reunion of director Luca Guadagnino and Timothée Chalamet, until now the star less likely to appear in a story with the word "cannibal" in it. A road movie about youthful flesh-eaters finding love (the title "Fine Young Cannibals" comes to mind), it's a strange and intriguing but ultimately unsatisfying stew.

Despite Chalamet's marquee appeal, the film actually belongs to and focuses on co-star Taylor Russell (who had a standout supporting role in "Waves") as the teenage Maren, who discovers her appetite for human flesh, a condition that eventually causes her father (André Holland) to give up trying to protect her.

Forced to strike out on her own, Maren discovers a hidden community of people with the same unorthodox diet, learning how they accommodate those urges. That begins with Sully (Mark Rylance, freely chewing upon the scenery as well), a bizarre character who tries to help mentor her but gives off a decidedly creepy vibe.

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'Fleishman is in Trouble' ages like fine whine with its look at post-divorce life

Meara Mahoney Gross, Jesse Eisenberg and Maxim Swinton in the Hulu limited series "Fleishman is in Trouble."

Fleishman is in Trouble

Rated TV-MA, ~48 minutes, Available on Hulu

If you find yourself disliking everyone in Hulu's too precious "Fleishman is in Trouble," don't worry, because it's not clear they like themselves. Author Taffy Brodesser-Akner has adapted her book into a limited series with its literary conventions intact, but the result is a frustrating showcase for very good actors as very whiny characters, including Jesse Eisenberg, Lizzy Caplan and Claire Danes.

Brodesser-Akner writes for the New York Times magazine, which becomes readily apparent in this Manhattan-centered story about the angst-ridden well to do, which approximates what the Times' Sunday Styles section would look like if it sprouted legs. While the narrative finally reaches a semi-relatable place, egad, it's a long, self-absorbed slog over eight episodes to get there.

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The initial focus is on newly divorced Toby Fleishman (Eisenberg), whose story is told by his college friend Libby (Caplan), serving as the relentless narrator of everyone's innermost thoughts.

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Film Review - She Said

This image released by Universal Pictures shows Carey Mulligan as Megan Twohey, left, and Zoe Kazan as Jodi Kantor in a scene from "She Said."

She Said

Rated R, 2 hours 15 minutes, in theaters Nov. 18

Those old Hollywood newspaper flicks are great, but today’s journalists don’t run around newsrooms yelling “Get me rewrite!” Nor do they sprint across the room shouting “Stop the presses!” over the click-clack of teletype machines and manual typewriters.

But that doesn’t mean you can’t stage a thrilling scene in a modern newsroom where people stare at monitors, munch on takeout salads and try not to spill coffee on the keyboard. To wit: Just try not succumbing to goosebumps in “She Said,” the story of the New York Times’ initial Harvey Weinstein scoop, when the editor’s cursor finally hits “Publish.” Or not gasping aloud, which I heard myself doing.

But “She Said,” a worthy entry to a film genre that includes “Spotlight” and of course “All the President's Men,” isn't just about the power of journalism. It’s also about courage, from the women who suffered sexual harassment or assault at Weinstein's hands and came forward at personal risk.

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The world of high cuisine has, for a while now, been ripe for satire. The new film “The Menu” happily supplies a heaping plate of it. Ralph Fiennes stars as a celebrity cook with an exclusive restaurant on a private island. For an eclectic group of high-paying foodies, it's a once-in-a-lifetime experience. The movie, like their meal, unfolds as a series of courses, each more elaborate, and sinister, than the last. “The Menu,” also starring Anya Taylor-Joy, may be targeting low-hanging fruit in mocking molecular cuisine. But it makes for a tasty snack, writes AP Film Writer Jake Coyle in his review. “The Menu” opens in theaters Friday.

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