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Girl Reviews

[Girl is] an unfortunately haphazard work that attempts to shape itself according to Thorne's presence

Full Review | Jan 25, 2022

Thorne's capable of more than this, even if the question of how much more remains unresolved.

Full Review | Original Score: 2/5 | Jun 1, 2021

Bella Thorne delivers a performance full of grit, unvarnished emotion, and commanding physical presence.

Full Review | Apr 9, 2021

The gritty female fronted thriller is a fun trend that blew me away in films like Blood on Her Name.... But, done wrong, it can feel like a shallow female centric film that can't avoid a male focused narrative. That's what happened in Girl.

Full Review | Original Score: 3/10 | Feb 24, 2021

...there isn't enough substance to make Faust's stylish choices mean something, so this thriller comes across as more empty that gratifying.

Full Review | Jan 29, 2021

Though it ultimately amounts to a routine revenge thriller, Faust coaxes impressive acting from his leads and demonstrates skillful promise for future efforts.

Full Review | Original Score: 2.5/5 | Dec 7, 2020

A dark modern-day western that writer and director Chad Faust injects with gritty character and strong sense of place.

Full Review | Original Score: 3.5/5 | Dec 6, 2020

A grimy, mean-spirited, claustrophobic drama reminiscent of Jim Thompson.

Full Review | Dec 3, 2020

Violent mystery centers on fierce female; drinking, smoking.

Full Review | Original Score: 3/5 | Dec 2, 2020

Mickey Rourke and Bella Thorne are better than the material...

Full Review | Original Score: 2/4 | Dec 1, 2020

Compelling stuff in a trashy dirty universe.

Full Review | Nov 30, 2020

Bella Thorne is a talented actress but this movie is average at best.

Full Review | Original Score: 5/10 | Nov 26, 2020

Such a generic title feels appropriate for this formulaic thriller.

Full Review | Nov 25, 2020

'Girl' is a promising debut for Chad Faust, featuring a rugged, captivating, and screen-hungry Bella Thorne.

Full Review | Original Score: 3.5/5 | Nov 25, 2020

Girl is a small revenge thriller made watchable by Bella Thorne in the title role as she overcomes the twists and turns of the plot-and the problems with the script-through sheer force of will.

Full Review | Original Score: 2.5/5 | Nov 25, 2020

Bella Thorne's most challenging role to date. [Full review in spanish].

Full Review | Original Score: 3/ 5 | Nov 24, 2020

Looking at Girl as a grainy, strained family mystery, there is some crooked pleasure to be had trying to juggle one dramatic twist after another alongside the equally bemused protagonist.

Full Review | Original Score: 6/10 | Nov 21, 2020

A wobbly and desperately unimaginative mesh-up of contemporary noir and a Southern-fried tale of ancestral trouble.

Full Review | Original Score: 1.5/4 | Nov 20, 2020

Thorne, however, remains compelling throughout, and even when "Girl" struggles to zero in on what it's trying to say, its star stays grounded in the deeper meanings.

Full Review | Original Score: C+ | Nov 20, 2020

They may be trying to be cool noirish or Tarantino-esque gangsters, or at the very least psych Girl out and intimidate her. It just feels like it's trying to evoke a vibe without having the actual weight of the vibe it's trying to evoke.

Full Review | Nov 19, 2020

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Girl – Movie Review (4/5)

Posted by Karina "ScreamQueen" Adelgaard | Nov 16, 2020 | 3 minutes

GIRL is a new thriller with a mystery. The main theme is revenge, but nothing seems to go as planned. A simple story with fascinating characters and solid performances. Bella Thorne is direct and raw in the title role. Read our full Girl movie review here!

GIRL is a new thriller by writer-director, Chad Faust, who also co-stars in the movie. While the main theme of the story is all about getting revenge, most of what happens is wrapped up in a mystery. And yes, you will get the answers you need before the credits roll across the screen. 

Overall, parts of this movie will probably feel familiar but it’s also a very fresh take on a well-known story about small-town dictators and bullies. A very strong feature film debut for the actor turned writer-director.

Continue reading our full Girl review below.

Proof that less is more

If you’ve read the plot for  Girl , then you will know everything you need prior to watching this movie. The plot is very simple, but it only really describes the circumstances. What happens throughout the movie is what really makes it work.

I  loved  the fact that while the simple story unravels with more details and background information, there is no need to tack on any additional plot twists. Usually, screenwriters just cannot keep themselves from adding more drama and mystery to their stories. And if they can, then producers or directors will demand more.

In this case, the writer is the director as well as the co-star, and clearly has a tight grip on what this story needs.

While Bella Thorne is paramount to the success of this movie since she plays the title role, the woman portraying her mother is also damn cool. Known only as “Mama” in the credits – just as Bella Thorne is known only as “Girl” – she is portrayed by Elizabeth Saunders. You may recognize her from  It (2017) as well as TV series such as  Orphan Black , The Strain , or  Alias Grace .

Oh, Mickey…

I do have to mention that while Mickey Rourke is still a good actor, his face is becoming an increasingly distracting factor. I’m sorry (not really!) but I  need some sort of explanation. It’s a downright unnatural look and just a simple line to explain it. “Ever since my face got f*cked up in that accident, I haven’t been able to whistle” or something would help a lot .

In other words, I need it to be acknowledged, or else it is simply too much of a distraction.

Instead, I forget to pay attention to the dialogue because I’m wondering what happened to his mouth since the last movie I saw him in. And yes, his acting still does work, so please, help the audience pay attention to that instead of his face. It’s human nature to wonder and be curious, so help us along.

Watch  Girl in theaters and on VOD!

As already mentioned,  Girl  was written and directed by Chad Faust. While he has already written and directed a few short films, this is his first feature film and it’s a damn strong one. Not too many characters and not even a huge budget. However, with a solid story and good performances from your cast, you’re more than halfway there before shooting even begins.

For Bella Thorne, this is a great role to show a much more serious side of her. Sure, she’s been in genre films such as  The Babysitter   and – more recently – the sequel The Babysitter: Killer Queen . However, while she is definitely out there in those movies, they are also very much horror-comedies.

You might like:  Our review of the Netflix horror-comedy The Babysitter 2 co-starring Bella Thorne here >

There is nothing funny about the happenings in  Girl . Or actually, Chad Faust himself does play “The Charmer” who will probably make you smile. But that’s still in a very different kind of way than a horror-comedy would.

GIRL will open in select theaters on November 20, 2020, before arriving on VOD platforms on November 24, 2020.

Writer & Director: Chad Faust Stars: Bella Thorne, Chad Faust, Mickey Rourke, Lanette Ware, Elizabeth Saunders, Glen Gould, John Clifford Talbot

In GIRL, A young woman (Bella Thorne) returns to her small hometown to exact revenge on her abusive father, only to discover someone murdered him the day before. As the girl searches for answers, she soon finds herself prey to a sinister sheriff (Mickey Rourke) and uncovers a family legacy more disturbing than she’d imagined.

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About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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Movie Review: Girl (2020)

• Natasha Alvar
• Movie Reviews
• --> January 22, 2021

Girl , written, directed and starring Chad Faust (“Better Start Running”), is effective when it comes to mood and atmosphere. The problem, however, is that there isn’t enough substance to make Faust’s stylish choices mean something, so this thriller comes across as more empty that gratifying. It begins with the titular “Girl” (Bella Thorne, “The Babysitter: Killer Queen”) on a bus, headed to see her no-good abusive father, with the sole intention of killing him. Thorne — not exactly known for her range as an actress — does well here, parading around with a false bravado, only letting her vulnerability show when she discovers that someone beat her to the punch, and now she has a dead father, with no idea who did it or why.

As she heads back into town, eager to get some answers from the locals, including among others, prostitute Betty (Lanette Ware, “Anything for Jackson”), she is met with a constant refrain: To leave Golden County while she still can. Just when you think she might take this bit of advice, she runs into Charmer (Faust) — all you have to do is turn to his name to have an idea of what his character is like. Their interactions together make us feel a bit happy for Girl, since she seems to be a bit of a loner and a drifting persona despite her connection to her mother back home. Faust’s Charmer is really good at swindling us to let our guard down, and I have to say that his character is perhaps the most compelling part of the film.

Once, however, it is revealed who the killers of Girl’s father are, the more interesting facets of Girl just go downhill from there, because now there’s less investigative conversation and suspense, and more scenes with Girl either being subjected to violence or being threatened by violence. I mean heck, Mickey Rourke (“ Berlin, I Love You ”) always plays this kind of slime bag characters, so it didn’t really surprise me that he was involved somehow, even if he was cast as the sheriff. And while I fully understand Girl being compelled to find out who murdered her father (even though she was planning on doing the exact same thing to him), and the film does well in communicating the complexities there, we, the viewers, don’t really know her father, nor do we feel like we have to care about the murder mystery in any way, shape or form.

What Girl does establish is that Bella Thorne has it in her to take on more challenging roles. Before this, as she moved towards her post-Disney image, she took on roles that basically established her as the beautiful, sexy (and more often than not, mean) girl, so she never really got to stretch her acting range. Chad Faust also has a bright future ahead, be it in acting or directing. Considering this is his directorial debut he does manage to craft quite the visually-satisfying film even if the screenplay (Faust’s second) needed some additional tinkering.

Tagged: father , girl , investigation , murder , secret , sheriff

Natasha is an English Literature teacher. She believes that stories are the essence of being human, and loves sharing this world with her students. One day, she hopes to break into the literary world with an offering of her own, but for now, she finds enjoyment in writing plays for her students as well as penning content for The Critical Movie Critics. She also writes for moviebabblereviews.com in her spare time. You can follow her @litmysoul on Instagram, if you want.

Movie Review: Diana’s Wedding (2020) Movie Review: The Argument (2020) Movie Review: Stars Fell on Alabama (2021) Movie Review: Tell Me I Love You (2020) Movie Review: The Sunlit Night (2019) Movie Review: Hope Gap (2019) Movie Review: To The Stars (2019)

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Common sense media reviewers.

Drama about transgender dancer has nudity, bullying.

A Lot or a Little?

What you will—and won't—find in this movie.

It would be nearly impossible to understand agony

Lara is a brave young teenager transitioning from

Classmates bully Lara. While Lara is right there,

Lara tapes her male genitals so they don't show un

"S--t," "d--k," "vagina," "penis," "glans," "clito

A transitioning male-to-female teenage patient tak

Parents need to know that Girl is a 2018 Belgian film (with English subtitles) that follows Lara, a 15-year-old born as a boy and transitioning into a girl. She's been taking puberty-suppressing hormones with the goal of beginning a female hormone regimen and undergoing a surgical procedure to make her body…

Positive Messages

It would be nearly impossible to understand agony of being born into wrong gender body without going through that ordeal. Depressed teens can sometimes believe things will never get better, might lack patience to wait for improvements. Even someone with all support possible can still feel depressed.

Positive Role Models

Lara is a brave young teenager transitioning from male body she was born with to female body she knows suits her actual gender. She endures ridicule and stares, feels painfully uncomfortable in male body. She finds strength to proceed with potentially dangerous procedure. Her father is supportive, encouraging as she undergoes transition. A single father raising two children supports his eldest lovingly, unconditionally.

Violence & Scariness

Classmates bully Lara. While Lara is right there, an insensitive teacher asks students if they mind if Lara uses the girls' bathroom. A dancer works so hard her feet bleed. She faints after a workout. In painful scene, Lara's "friends" pressure her into letting them see her penis.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Lara tapes her male genitals so they don't show under clothes. She must painfully remove tape every time she has to urinate. A male bare chest, penis are seen for seconds in mirror view. These views have little to do with sex and mostly suggest sense that the person is dissatisfied with the reflection. A person embarrassed about her body kisses a neighbor, won't let him touch her, gives him oral sex, runs away.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"S--t," "d--k," "vagina," "penis," "glans," "clitoris," "breasts," "damn," and "bitch."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

A transitioning male-to-female teenage patient takes puberty-suppressing drugs and later female hormones. A father asks his teen if she's had alcohol or smoked "dope."

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Girl is a 2018 Belgian film (with English subtitles) that follows Lara, a 15-year-old born as a boy and transitioning into a girl. She's been taking puberty-suppressing hormones with the goal of beginning a female hormone regimen and undergoing a surgical procedure to make her body conform to her self-image. Doctor visits and frank discussions with a supportive father and therapist candidly reveal the graphic details of what such a transformation entails, both physically and emotionally. This can be an uplifting document for those considering the same change, but be aware that bullying and depression result in a violent act (not shown). This also addresses universal body image issues that plague many teens not undergoing Lara's journey. A scene depicts oral sex, but no genitals are seen. Classmates at Lara's ballet school sometimes embrace and sometimes taunt her. Lara tapes her male genitals so they don't show under her clothes. A teen stands naked before a mirror, showing a penis. Language includes "s--t," "d--k," "vagina," "penis," "glans," "clitoris," "damn," and "bitch." To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

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• Parents say
• Kids say (2)

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

Lara is the title's Girl, born into a male body but identifying as female. At 15, poised to begin a course of female hormones in preparation for surgery, she lives in Belgium with her supportive father, Mathias (Arieh Woltholter), and 6-year-old brother, Milo (Oliver Bodart). They are doubly supportive in that they've uprooted themselves so that Lara can attend Belgian's best dance school, where she can improve her technique in the quest to become a ballerina. A team of doctors are preparing her for transition, including a therapist encouraging her not to put off living until she has the body she wants, advice that seems both supportive but also oblivious to Lara's discomfort. A guy in her new building catches her eye, and although she's still ashamed that her body doesn't match her identity, she pursues a sexual encounter that results in her giving him oral sex and then running away. Either one of the twin stresses in her life -- impatience for completing her transition or feeling inadequate as a dancer -- could wear down the strongest teenager. Together they bring her to a breaking point that results in self-injury. What the future holds for her remains undisclosed.

Is It Any Good?

Based on the true story of a ballerina named Nora Monsecour, the film is a riveting tribute to the courage of a young person undergoing the slow and difficult process of transition. Victor Polster, a cisgender male (born male and identifying as male), was cast as Lara for his resemblance to the dancer and for his acting and dance ability. Audiences should know that some in the transgender community have complained that Girl didn't cast a trans actor for the role, and that with its emphasis on body image, it's exploitive rather than representative.

Politics aside, Polster is moving and believable enough to make this feel at times like a documentary in which the audience has been invited to watch the transition process step-by-step. This may be jarring and discomforting for some but heartening and encouraging for those in the same position who are experiencing social backlash and have less supportive and encouraging parents. The movie takes pains to explore the ways in which simply being a dancer, surrounded by mirrors and unyielding body ideals, can set a youth on a path of body image pathology. Sensitive performances are given by all. The film was nominated for a Best Foreign Film Golden Globe and won the Camera d'Or at the Cannes Film Festival.

Talk to Your Kids About ...

Families can talk about how difficult it would be to feel trapped in the body of a gender that doesn't feel right. How do you think it would feel to know it would take medicine and surgery to allow you to be at home in your own body?

What do you think of the girls who bully Lara into showing her genitals? Why do you think they do it? Why do you think Lara relents after saying no so many times?

Why do you think people exclude those who are different? Do you think it comes from fear of the unknown? Or something else? What do you think people might be afraid of? Do you think racism and other kinds of hatred are also fear-based?

Movie Details

• On DVD or streaming : March 15, 2019
• Cast : Victor Polster , Arieh Wortholter , Oliver Bodart
• Director : Lukas Dhont
• Studio : Netflix
• Genre : Drama
• Run time : 109 minutes
• MPAA rating : R
• Last updated : April 5, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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The Danish Girl

Hedwig and the Angry Inch

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Movie Reviews

This tender irish drama proves the quietest films can have the most to say.

Justin Chang

Catherine Clinch plays Cáit in The Quiet Girl. Super Lt hide caption

Catherine Clinch plays Cáit in The Quiet Girl.

The late film critic Roger Ebert once wrote, "What moves me emotionally is more often goodness than sadness." It's a sentiment I've always shared, and I thought about it again while watching the beautifully crafted Irish drama The Quiet Girl .

There's plenty of sadness in this tender story about a withdrawn 9-year-old who spends a fateful summer with two distant relatives. But the movie, adapted from a Claire Keegan story called Foster , doesn't rub your nose in the character's unhappiness. What brought me to tears more than once was the movie's unfashionable optimism — its insistence that goodness exists, and that simple acts of decency really can be life-changing.

Book Reviews

With 'foster,' claire keegan asks that readers look outward.

The story is set in 1981, although given the remoteness of its rural Irish setting, it could easily be taking place decades earlier. The dialogue is subtitled, because the characters speak mostly Irish, a language we rarely hear in movies. The quiet girl of the title is named Cáit, and she's played with aching sensitivity by a gifted first-time actor named Catherine Clinch.

Cáit is the shyest and most neglected kid in her poor farming family. Her short-tempered mother has her hands full taking care of Cáit's siblings, and her father is a gambler, a philanderer and an all-around lout. At home and at school, Cáit does her best to stay under the radar. It's no wonder that the first time we see her, the camera has to pan down to find her hiding beneath tall blades of grass.

Author Interviews

Quiet, please: unleashing 'the power of introverts'.

With too many mouths to feed and another baby on the way, it's decided that Cáit will spend the summer with relatives. Her mother's older cousin, Eibhlín, and her husband, Seán, live a three-hour drive away; they're played, wonderfully, by Carrie Crowley and Andrew Bennett. From the moment Eibhlín welcomes Cáit into their house, she lavishes the girl with kindness and attention. She engages her in conversation, involves her in household chores and responds in the most loving way when Caít wets the bed on her first night.

Seán is gruffer with Cáit at first, but he warms to her soon enough. There's a lovely little moment when, after angrily scolding her for wandering off by herself, Seán silently leaves a cookie on the table for her — an apology extended entirely without words. In their way, Eibhlín and Seán are as reserved as Cáit is, especially compared with some of their cruel, gossipy neighbors.

One of the most refreshing things about The Quiet Girl is that it doesn't treat silence as some problem that needs to be solved. When someone criticizes Cáit early on for being so quiet, Seán gently defends her, saying she "says as much as she has to say." And yet we see how Cáit gradually flourishes under her guardians' loving attention. Clinch's luminous performance shows us what it's like for a child to experience real, carefree happiness for the first time, whether it's Eibhlín offering Cáit a drink of crystalline water from the well near their house or Seán pressing a little pocket money into the girl's hands.

How Parents And Teachers Can Nurture The 'Quiet Power' Of Introverts

Seán and Eibhlín are clearly delighted by this temporary addition to their household, in part because it chases away some of the sorrow they've experienced in their own lives. The source of that sorrow isn't made clear right away, though you'll likely figure it out if you're paying close attention. When the truth does come out, it's treated with a gentle matter-of-factness that — much like the unfussy natural beauty of Kate McCullough's cinematography — deepens our sense of immersion in these characters' lives.

The Quiet Girl was written and directed by Colm Bairéad, an Irish filmmaker whose background is in documentaries. That may account in part for how exquisitely observed his first narrative feature is. Bairéad trusts the power of understatement, and that's a rare thing, given how prone so many films are to noise and over-explanation. Not many movies would focus on a character as unassuming as Cáit, but there's nothing small or insignificant about her story. Sometimes, it's the quietest movies that turn out to have the most to say.

Correction Feb. 24, 2023

An earlier version of this story misspelled the main character's name Cáit as Caít.

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Stream It Or Skip It: ‘The Snow Girl’ On Netflix, Where A Young Reporter Doggedly Pursues The Case Of A Missing Girl

Where to stream:.

• The Snow Girl

11 Best New Shows on Netflix: April 2024's Top Upcoming Series to Watch

Stream it or skip it: ‘dinner party diaries with josé andrés’ on prime video, where the chef, restaurateur, and humanitarian welcomes celebs into his kitchen , stream it or skip it: 'iron reign' on netflix, where a drug shipment gone wrong sparks a gang war in barcelona, stream it or skip it: 'little nicholas: life of a scoundrel' on netflix, a docuseries about a 20-year-old who had the ear of the spanish government.

In  The Snow Girl , a young reporter investigates the case of a missing girl with a determination that belies her youth. It turns out that, not long before the girl’s disappearance, the reporter herself suffered a major trauma, and she knows the pain that the victim’s parents are suffering. Does she also want to investigate to help her own mental health?

THE SNOW GIRL : STREAM IT OR SKIP IT?

Opening Shot: A girl walks towards a car wearing a bunny mask.

The Gist: It’s 2010. The Martin family is in a square in the city of Málaga, watching the Cavalcade of the Magi parade. During a rainstorm, 5-year-old Amaya goes missing as her father Alvaro (Raúl Prieto) argues about not getting the right amount of change from a balloon vendor dressed like Santa Claus. Amaya’s father and mother, Ana (Loreto Mauleón) go around the square, searching for a girl in a yellow raincoat and bunny mask, but she is nowhere to be found.

CCTV cameras show Amaya being led out of the square by a stranger, which leads every newscast in the city. It’s the big story at the local paper, the  Sur , and the new intern, Miren Rojo (Milena Smit) wants to work on it, feeling she has particular insight. Eduardo (José Coronado), a veteran journalist who helped her get the internship, thinks it’ll be good training, but the editor says no. Miren comes with him, anyway; he shows her a police file that shows the girl’s raincoat was found, and also the name of the lead detective: Inspector Belén Millán (Aixa Villagrán).

Miren is very familiar with the inspector, as she was a lead detective on a case where Miren was the victim. The case, in fact, is still open, and Miren flashes to scenes of her being assaulted on the beach. At a press conference where flyers are distributed, Miren manages to get a few words with a distraught Ana; she basically tells her she can relate to the pain they’re feeling and gives her contact info.

She follows the family and their social circle around all day until she’s confronted by David Luque (Tristán Ulloa), a family friend. In the meantime, Inspector Millán and her partner investigate the case, including the strange spot where the raincoat was found. During a vigil for the girl, Millán’s partner tells her that David has a record involving sexual assault with a young girl.

Flash to 2016. Miren, now a reporter for the  Sur , gets a package, which she turns over to Millán. The inspector summons Alvaro and Ana to the station, and what they see on the tape in the package stuns them.

What Shows Will It Remind You Of? The missing girl theme of  The Snow Girl (Original title: La chica de nieve ) reminds us of The Missing   or  Dark .

Our Take: The Snow Girl  is based on a novel by Javier Castillo , and it jumps back and forth among three timelines, only two of which we saw in the first episode. Not only are we seeing the beginning of the case in 2010 and then the revelation that Amaya might be alive in 2016, but there will also be more investigatory activity in 2019.

How we’re going to keep track of the three timelines is anyone’s guess. Most of the story is really going to be told through Miren’s perspective, and perhaps her personality, appearance, and manner is how we’ll tell these timelines apart. In 2010, the trauma of her attack is still fresh. We see it in her dogged pursuit of this case, and when she sees bruises on her face in the reflection of a computer monitor, among other PTSD-related reactions. Eduardo, a family friend, is concerned for her, but she insists she’s fine.

In our brief look at 2016, Miren seems to have herself a bit more together, including working at the  Sur  despite the rocky start she had there as an intern. Distance, therapy and all sorts of other eventualities are what made Miren better, but we’re not sure we’re going to see any of that. And we have no idea what 2019 will look like, since that timeline isn’t examined in the first episode.

We like Smit as Miren, mainly because she’s good at playing a person who’s haunted but determined (it’s not much different than what we saw of her in  The Girl In The Mirror ). It feels like Smit and Aixa Villagrán as Millán are going to be the ones the drama is centered around, and of course Miren’s side of the investigation will always be more interesting than the straightforward police work Millán does. Still, the contrast between how the two women go about looking into this disappearance will create a tension that drives the action

Sex and Skin: None in the first episode.

Parting Shot: Ana and Alvaro are convinced that the girl playing with a dollhouse on the videotape they’re watching is a now 11-year-old Amaya.

Sleeper Star:  Loreto Mauleón plays Amaya’s mother Ana, and the rawness of her emotions, even six years after Amaya disappeared, are very evident in her performance.

Most Pilot-y Line: An elderly lady that saw Amaya being taken into her building is questioned by Millán and her partner, and all we could look at was what seemed like the many cats that lived with her.

Our Call: STREAM IT. We’re a bit skeptical that the multiple timelines in  The Snow Girl  will be kept distinctive enough to not confuse viewers, but the story is interesting enough that it may not matter.

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, RollingStone.com , VanityFair.com , Fast Company and elsewhere.

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Girl/Girl Scene the Movie (2019) Review

by S.C. Peregrine | Oct 29, 2022 | Indie , Indie Films | 0 comments

The musically rich and visually stunning Girl/Girl Scene is one of my favorite wlw films to be made from an original series by Tucky Williams, starring Amanda K. Morales, Maya Jamner, Roni Jonah, L.E. Barone and its creator, Tucky Williams as “bad-girl” Evan and is an impeccably accurate representation of the chaos inherent in tight-knit queer friend groups. You know the ones. The one you’re in. Or used to be in.

Girl/Girl Scene: The Movie (2019)

Dir. Tucky Williams | Writer Tucky Williams | Starring: Amanda K. Morales, Maya Jamner, L.E. Barone, Roni Jonah, Tucky Williams

Having already been a fan of all things Tucky Williams and anything Girl/Girl Scene , the feature film is one of my favorites to watch for a quick pick-me-up. Girl/Girl Scene began as a series in 2010 spanning three seasons with 23 episodes, which came to an end in 2015. The overarching story of Girl/Girl Scene throughout its three seasons is very much the tale of a tightly knit group of lesbians who honestly get up to no good, but come together in times of need. It was one of the first queer web series I had ever watched. It came into my life directly on the heels of The L Word finale, which was a time in my youth where I thought, “Well, that’s it for tv shows about lesbians. It’s over now”.

So, truthfully, if it hadn’t been for Tucky Williams and Girl/Girl Scene, I wouldn’t altogether say that I wouldn’t be sitting here writing this, and doing what I do as an entertainment writer, but it might have taken me a lot longer to get here. I had realized, “Women can just… make it themselves”. Which really opened a door for me to the world of independent art and filmmaking. So Tucky, thanks for everything. Back to the movie!

To begin, no, you don’t need to watch the series before seeing the movie in order to enjoy it, but, why would you not want to? I saved the review for Girl/Girl Scene The Movie for October because while it’s not necessarily a “Halloween” genre film, it certainly has plenty of Halloween parties and the costumes… oh my goodness, the costumes. A homage to the 80’s and cut together with a  “VHS-themed” kind of style (remember those?) Girl/Girl Scene definitely has a lot going for it as far as the set design, wardrobe, lighting, even down to the way it’s colored. Lots of neons and vivid pinks, blues and purples; literally every scene is a feast for the eyes. I’ve seen the film close to a dozen times and still manage to discover interesting and outrageous set pieces in the background.

The movie has a decent soundtrack as well, if you’re a fan of 80’s style synthwave/synthpop – listen to the spotify playlist here ! The story follows female lothario Evan on her escapades with her close group of friends; “party girl” Ryan, “tortured writer” Dov, “nihlistic best friend” Trista and “blonde bombshell” girlfriend Bridget.

“– a group of Lesbians who are constantly creating unnecesary and neurotic problems to keep them from dealing with their terrifying problems, like reality.”

Much like with any friend group, the bonds that tie everyone together are strong and unyielding through its ups and downs. When that group of friends is made entirely of Lesbians or Queer Women, things can get a bit intense. Leave it to the useless Lesbians to struggle with romantic relationships within a circle of friends that almost always leads to chaos. Also inherent in any Lesbian friend group; secrets. Lots of them. Don’t ask me why, I seriously could not begin to tell you. If you’re reading this and are currently in a big group of queer friends or have been a part of one in the past, you know exactly what I’m talking about. It’s just the dynamic of queers en masse. We’re dramatic and ridiculous. But also brave, fierce and loving. The unit may struggle with problems and rifts within itself at times, but to an outside force beware; you mess with one, you mess with them all.

“Please cancel my subscription to your issues.”

WATCH THE TRAILER: 

Follow Evan and Bridget as they navigate their relationship with friends Ryan, Trista and Dov through a slew of Halloween parties which culminate in a series of confessions and jaw dropping events. I find each character easy to relate to as they each have their own particular struggle within the larger dynamic of the “group”, which gives the grander scale of the overall story some depth. Due to this, viewers can easily establish a sort of “bond” with these characters. For me, it’s Dov; struggles with her writing in times of conflict (either internal or external), might be a hopeless romantic in an imaginary sense but as far as real life, “doesn’t believe in the grand idea of romance.” Minus the chain smoking. Add the hair envy (seriously, the best hair I’ve ever seen on a screen).

Morales and Williams star alongside each other once more in a separate Fantasy genre series also created by Williams called Dagger Kiss. Two words: Sword Lesbians . Roni Jonah also returns for a role in DK as well. Listen to a few thoughts Amanda K. Morales has on filming Dagger Kiss here .

Stream Girl/Girl Scene the Movie included with Prime Video ! Tucky Williams Official Website

This article was written by:

S.C. Peregrine (she/her)

Writer, Producer, Set/Event Photographer

Sarah Caitlin is a strong advocate for positive LGBTQIA representation in film & television. Known by friends and colleagues as "S.C.", she travels the country (and sometimes out of it) providing press and media coverage for film premieres, film festivals, fan conventions and still photography for film & tv sets. She is also currently pursuing a Bachelor of Science in Media Communications at The Los Angeles Film School with a 3.9 GPA.

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After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl. After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl. After a group of criminals kidnap the ballerina daughter of a powerful underworld figure, they retreat to an isolated mansion, unaware that they're locked inside with no normal little girl.

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Abigail : [from trailer] What can I say? I like playing with my food.

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‘Girls State’ Review: One Nation, Under Girls

Balancing confidence with broad smiles, the high school students in this documentary understand that camaraderie goes hand in hand with political ambition.

By Natalia Winkelman

In 2018, over 1,000 boys gathered in Texas for an elaborate, weeklong program aimed at students interested in politics. This meeting of teenage minds — part of a countrywide initiative sponsored by the American Legion — was captured in the Sundance hit “ Boys State ,” a vérité chronicle of the event, where participants are elected by their peers to different positions in government.

Considering that movie’s success, it hardly comes as a surprise that the filmmakers, Amanda McBaine and Jesse Moss, used their momentum to produce the follow-up “Girls State.” The directors shot the documentary in 2022 at Lindenwood University, in St. Charles, Mo., where, the movie repeatedly notes, it’s the first time that the boys and girls groups are holding their events simultaneously on the same campus.

If you are imagining coed frivolity or drama, though, think again: These motivated girls are only concerned about the boys insofar as their proximity highlights the lack of parity between their programs. We meet Emily Worthmore, one of the film’s central subjects, as she ticks off achievements. At Girls State, Emily, a conservative Christian, hopes to be elected governor, a goal she shares with the left-leaning Cecilia Bartin, who canvasses the lunchroom by shouting from a chair. Others, including Nisha Murali, eye seats on the program’s Supreme Court, which the attendees anticipate will hear an abortion case.

If the vibe of “Boys State” is that of a Young Republicans conference, the atmosphere at “Girls State” suggests a freshman orientation. By turns giddy and gutsy, the students share in communal songs, icebreakers and empowerment sessions. They seem to intuit that camaraderie goes hand in hand with political ambition, and that they shouldn’t take the curriculum, or themselves, too seriously. Here, cute selfies and résumé building receive equal attention.

Modesty, sympathy, generosity — these are valuable qualities in life and not necessarily in documentary cinema, where tension often acts as a narrative engine. The film tries to complicate its sororal ethos by pointing to the ways in which women are socialized to strive for perfection and avoid raising a stink. But as the film goes on to track a series of frictionless exercises in campaigning, litigation and reporting, one wishes there were more complex ideas introduced in tandem.

“Girls State” uncovers a fascinating division early on after Emily remarks that she has no trouble identifying the girls who lean liberal. “Maybe they’re just,” she pauses, searching for a diplomatic term. “Louder?” The filmmakers pair this observation with a shot in which a cluster of attendees, led by Cecilia, joyfully chant Pitbull lyrics while Emily and others watch from the side.

How is this new generation of young women from both sides of the aisle making their voices heard? What qualities do they prize in their leaders? And what qualities are they learning to prize in themselves?

These questions linger before they are eventually subsumed into the movie’s broader, blander portrait of female rapport and resilience. “Girls State” endears, but it also leaves viewers with the sense that, for a film about young women eager to take on the world’s challenges, the movie could stand to tackle a few more.

Girls State Not Rated. Running time: 1 hour 35 minutes. Watch on Apple TV+ .

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‘scoop’ review: prince andrew interview movie is a royal bore.

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Journalism movies can be a lot of fun (“His Girl Friday,” “The Paper”) or compellingly dramatic (“ Spotlight ”).

Running time: 102 minutes. Rated TV-14. On Netflix April 5.

Or neither.

That murky middle is seen in “Scoop,” a dollar store “Frost/Nixon” about Prince Andrew’s 2019 interview with the BBC in the wake of Jeffrey Epstein’s sex-trafficking scandal.

Director Philip Martin’s film is not poorly made per se, but its efforts to make the behind-the-scenes scramble to get the Duke of York on TV exciting are for naught. 

The biggest hurdle, as far as entertainment is concerned, is that this really is a Goliath-vs.-Goliath story. The movie tries ever so hard to frame the BBC — the world’s largest broadcaster — as some sort of scrappy startup. Too bad the viewer knows that neither “B” stands for blog. 

Sure there have been layoffs at the company, and the current affairs program “Newsnight” is trying to up the ante with eye-grabbing stories. Producer Sam McAlister is worried she’ll lose her job.

Yet because of their still-significant resources, we don’t root for McAlister (Billie Piper), anchor Emily Maitlis (Gillian Anderson) and editor Esme Wren (Romola Garai) so much as admire their professional abilities. They deserve awards for journalism, not a two-hour fictionalization.

The leading role here is McAlister, who has a tabloid sensibility that her colleagues sneer at. Nonetheless, she adamantly insists the show keep an eye on suspicious friends Epstein and the Duke of York. 

After Epstein’s arrest and later suicide in prison, they doggedly pursue an interview. McAlister goes for cocktails with the prince’s aide Amanda Thirsk (Keeley Hawes), who will only consider the proposal if Maitlis’ questions will stick to Andrew’s young entrepreneur program “Pitch the Palace” and not bring up the pedophile or his nefarious friend Ghislaine Maxwell. 

Hawes, throughout, has the worn-down look of feigned support — like that of a politician’s spurned spouse as her husband admits to an affair onstage.

Believing a sit-down could turn Andrew’s reputation around, Thirsk and the palace finally agree. Whoops!

“Scoop” thankfully perks up when Maitlis and Andrew face off for the tense, disastrous chat. 

To play Andrew, Sewell has been, well, enhanced with the help of prosthetics and makeup that reportedly took as long as four hours to apply. He plays the royal with the right combo of overconfidence and bumbling oafishness. 

Across from him, Anderson’s shrewd Maitlis is the opposite. Focused and steady, she grills the prince like only Agent Scully could — with brutal logic and confounding charm.

When the interview hits screens across the globe, and the response is resoundingly anti-Andrew, it’s supposed to be a triumphant finale. 

But because Prince Andrew never faced criminal charges (he settled a civil suit with Virginia Giuffre, who accused him of sexual assault), it’s not a blistering end.

McAlister orders a kebab, and the next movie in your Netflix queue begins — like it or not.

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Chicken for Linda!’s animation needs a big screen and emotional processing space

What is a beloved chicken dish if not a metaphor for grief?

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From an initial read of the title, I was under the impression that Chicken for Linda! was about a little girl who really wanted a pet chicken. I was wrong. The French animated movie from directors Chiara Malta and Sébastien Laudenbach takes place in modern France and follows a little girl named Linda who really wants to eat chicken. Specifically chicken with peppers. For Linda’s mom, Paulette, who mostly serves up frozen meals and doesn’t really cook at all, making this dish is already a challenge.

And thanks to an ongoing general strike in their town, all the grocery shops are closed, which makes this quest even harder . But Paulette feels really guilty about wrongfully punishing Linda for swiping a treasured ring, so she heads to a farm to buy a live chicken. This begins Linda and Paulette’s daunting quest to kill, cook, and eat this chicken, something neither of them has even fathomed doing before.

It’s much less morbid than it sounds. Actually, it’s unexpectedly funny, while also being a bittersweet reflection on grief and memory.

Linda approaches her mission with bright-eyed determination that softens the hearts of authority figures and convinces an assortment of inexperienced people to take a stab at killing and preparing the chicken. Eventually, we learn just why Linda is fixated on this particular chicken-and-peppers meal: It’s something her late father, who she barely remembers, used to cook.

All the characters in the movie come to life in single-color blocks, rendered with distinct outlines. There’s a lovely tangibility to how they move: The cat operates as one big blob, except when it stretches out its paws. The policeman wriggles his long limbs around a drooping telephone cord. From a distance, the chickens are splashes of color and a curling outline, darting across the screen. Against the painted background, each frame is vibrant and dynamic.

Chicken for Linda! is chock-full of hijinks, with a lot of physical humor and hilarious situations that stem from the absurd nature of the plot. A cop pulls a gun on the chicken, since that’s the only way he knows how to possibly kill it. After stealing the chicken, Linda and her mom leap into the back of a vegetable delivery truck and hide out among crates of watermelons. There are moments when the movie lags, long chase scenes that get a little too abstract, and a handful of musical sequences that feel like they’re from another movie entirely. But even among the shenanigans and the loftier animated sequences, the movie is anchored in Linda and her desire for the coveted meal, her desire to connect with her father.

That family dynamic, the element that gives this otherwise lighthearted movie its weight, isn’t saved for an emotional gut punch at the end of the story, or turned into a nagging reminder constantly brought up by characters. Instead, it’s simply present in the background of the movie, seamlessly woven into every thread as we learn more about Linda, her mother, their relationship to each other, and how they relate to the rest of the characters we meet.

Linda’s grief and her inability to even really register it eventually builds up to a cathartic point, but it isn’t a heavy-handed emotional release. It’s a subtler epiphany, as she gets the chance to remember key details about her father. And through the process of seeking this moment together, Linda and her mother are finally able to connect, and to open up to their community, who all came together to help them try to eat this dang chicken. The movie is the perfect blend of silliness and serious, deep emotion that never becomes overstated, all told in bright, painted colors that deserve to be seen in theaters to experience their full glory.

Chicken for Linda! is out in select theaters starting April 5.

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