Aesthetically and tonally, Bones fits somewhere between John McNaughton’s Henry: Portrait of a Serial Killer and Gregg Araki’s nihilistic road flick The Living End .
Reminiscent of John McNaughton’s “Henry: Portrait of a Serial Killer,” the film’s killings occur in common places – apartments, houses, abandoned buildings – the unsuspecting going about their workaday chores and activities, unaware of the brutality occurring just feet away, only a door or wall obscuring the horror within.