Joey Magidson
Welcome back to my Home Movies! Today, we kick off the 2021 incarnation of the column with one of the smaller films to earn a rave last year on the site. It’s Girl, featuring Bella Thorne‘s notable turn. As for what else is hitting this week? Well, we’ll get to that. Read on for more…
Joey’s Top Pick
Girl
Bella Thorne turns in very strong work, opposite Mickey Rourke, in this indie thriller. It’s a gritty little movie, but one that highlights Thorne fairly well. Fans of hers will certainly be thrilled to see her tackle something challenging like this. From our rave review (here) on the site:
“In what may be her best performance yet, Thorne shows audiences that she is an actress that should be celebrated. Playing a strong, rough-and-tumble young woman in search of answers and revenge, her performance is gripping, heartbreaking, and unforgettable.”
If you like Bella Thorne, this is one to certainly check out. Plus, listen to our interview with Girl filmmaker Chad Faust here for more.
Also Available This Week
12 Hour Shift
The 100: Complete Seventh Season (TV)
Love & Monsters
Yellow Rose
Criterion Corner
Three Films by Luis Buñuel
From The Criterion Collection: “More than four decades after he took a razorblade to an eyeball and shocked the world with Un chien andalou, arch-iconoclast Luis Buñuel capped his astonishing career with three final provocations—The Discreet Charm of the Bourgeoisie, The Phantom of Liberty, and That Obscure Object of Desire—in which his renegade, free-associating surrealism reached its audacious, self-detonating endgame. Working with such key collaborators as screenwriter Jean-Claude Carrière and his own frequent on-screen alter ego Fernando Rey, Buñuel laced his scathing attacks on religion, class pretension, and moral hypocrisy with savage violence to create a trio of subversive, brutally funny masterpieces that explore the absurd randomness of existence. Among the director’s most radical works as well as some of his greatest international triumphs, these films cemented his legacy as cinema’s most incendiary revolutionary.”
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