Girl (2020)


Axe her no questions…

(2020) Thriller (Screen MediaBella Thorne, Mickey Rourke, Chad Faust, Lanette Ware, Glen Gould, Elizabeth Saunders, Michael Lipka, Tia Lavallee, Paolo Mancini, John Clifford Talbot, Rasneet Kaur, Emma-Leigh Cullum. Directed by Chad Faust

 

There’s a famous saying that when you go out for revenge, first dig two graves. That is particularly true when your vengeance is aimed at a blood elative.

This Bella Thorne-starring vehicle by Chad Faust seems to be intentionally vague. The characters are not given names – Thorne, in the lead, is only known as Girl – which seems to be fitting given the lack of depth in developing the story, which is a bit strange because it seems like a good deal of the dialogue is spent on exposition, which makes it feel like the characters are explaining things to us.

And we need the explanation. Girl heads back to the Pacific Northwestern town she was born in, but left along with her Mama (Saunders) after her abusive father (Talbot) kicked them both to the curb – in Mama’s case, quite literally, as a vicious beating left her with severe back injuries that have rendered her barely able to walk. Dear old dad has failed to provide any child support over the years and Mama, who desperately needs the money, has written him requesting that he pay his share.

Dad has written back, apparently telling Mama where to stick her child support but also proclaiming a desire to kill both mother and daughter. So Bella is on her way to Golden, a town that has seen prosperity pass it by, to do unto Daddy before he does unto her.

Except that someone has beaten her to it. Her father has been viciously beaten to death. You would think that Girl, given that her dirty work has been done for her, would turn around and head back home, but she is curious and angry; who would rob her of her vengeance? What was her dad mixed up in that led to such a brutal end?

As with many small towns in the Pacific Northwest (at least as Hollywood paints it), oddball characters of varying degrees of sinisterness walk the streets. There’s the aptly named Charmer (Faust), a flirtatious sort who meets Girl in a laundromat; there’s the hooker with a heart of gold (Ware), the bartender who may or may not be helpful (Gould) and of course, the town sheriff (Rourke) who just upon sight looks like the sort of guy you’d not want to go to when you need help. And your first impressions would be correct.

Faust seems to be going for a kind of Southern gothic vibe set in the Pacific Northwest – think of it as Twin Peaks had it been written by Shirley Jackson (and if that combination appeals to you, you’re my kind of people). Faust casts the movie well and in particular the title role. Thorne, who cut her teeth on Disney Channel family fare, has long since moved into adult roles, but this is by far her most compelling performance, not unlike that of Jennifer Lawrence in Winter’s Bone. She captures the barely suppressed rage of the character, while expressing a kind of dangerous side like a coiled rattlesnake (Girl is handy with an ax, as it turns out). Thorne is particularly outstanding in her scenes with Rourke and Saunders at the end of the film.

Other than the climax which is well-done, the movie devolves into standard thriller clichés in the last half. Worse still, the film score is intrusive and more than a little obnoxious; if ever a score sabotaged its film, it is this one.

There’s a lot going for the film, mainly in the performances and particularly Bella Thorne’s. Faust, who also wrote the film, needs to work on his dialogue a bit and focus on developing his ideas, which are strong but he doesn’t seem to trust them and ends up taking the easy way out. Still, this is fairly strong B-Movie fare and if you like yourself a good revenge film, this might be what you’re looking for.

REASONS TO SEE: Thorne gives a career-changing performance.
REASONS TO AVOID: The score is obnoxious and intrusive.
FAMILY VALUES: There is plenty of profanity, some violence and an attempted rape.
TRIVIAL PURSUIT: This is the fourth film Thorne has appeared in so far this year.
BEYOND THE THEATERS: Amazon, DirecTV, Fandango Now, Google Play, Redbox, Vudu
CRITICAL MASS: As of 11/26/20: Rotten Tomatoes: 67% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: Ravage
FINAL RATING: 6.5/10
NEXT:
To Your Last Death

Girl (2018)


Showers aren’t always the great equalizer.

(2018) Drama (NetflixVictor Polster, Arieh Wolthalter, Oliver Bodart, Tijmen Govaerts, Kateljine Damen, Valentijn Dhaenens, Megali Elali, Alice de Borqueville, Alain Honorez, Chris Thys, Angelo Tijssens, Marie-Louise Wilderijckx, Virginia Hendricksen, Daniel Nicodéme, Els Olaerts, Hélène Theunissen, Alexia Depicker, Steve Driesen, Ingrid Heiderscheidt. Directed by Lukas Dhont

 

Girl is a movie that had the best of intentions, but ends up pissing off a lot of people it was meant to honor. This first feature from Flemish director Dhont is about a young ballerina named Lara (Polster) who has just been provisionally accepted into a prestigious ballet school in Antwerp, necessitating a move there for her father (Wolthalter) and little brother (Bodart). But if undergoing the rigorous, demanding and often punishing training necessary to become a ballerina wasn’t enough, Lara is also transitioning from being a young boy into becoming the gender she knows herself to be.

Her father is incredibly supportive and her classmates seem to be (although there is a scene where they demand that she show her genitalia, which humiliates her) and she has the benefit of a really good counselor (Dhaenens) who repeatedly tells her not to put everything in life off until after she gets her surgery. “You also have to live now,” he wisely tells her.

But Lara, like most adolescents, doesn’t have a ton of patience. She wants to be rid of the male body that she was born with, checking for signs of growing breasts that are not yet apparent, and anxiously wondering if the hormones are working, although her doctors assure her that they are – it just takes time, time that Lara isn’t particularly willing to give. As the pressures mount and her need to be the woman that everyone says she already is, she commits an act of graphic self-harm that moved Netflix to take the unusual step of placing a warning title at the beginning of the film.

The movie has come under heavy criticism from the trans and LGBTQ community, first of all for casting a cis-gender male in the role of Lara, although that complaint isn’t as realistic as you might think; finding a trans actress of the right age who can handle the grueling dancing and training sequences is nearly impossible and it proved to be so for Dhont, who eventually found Polster while casting the background dancers.

And a lucky casting that was indeed. Polster has the grace and dancing chops to pull off the role, but also the facial expressions; Lara isn’t much of a talker and like many adolescents, isn’t able to articulate what’s bothering her. Polster does a good job of using non-verbal acting to convey Lara’s anguish.

The second issue that the LGBTQ community has brought up bears more scrutiny and it is the movie’s almost pornographic obsession with Lara’s crotch. Shot after shot after shot is centered there and we see enough of Polster’s genitalia to last a lifetime. Trans advocates rightly complain that the movie reduces Lara down to her genitalia, and like all people, trans people are much more than the equipment they have. Lara’s clear self-loathing for her body also sends a message to young transgenders that might not necessarily be the one that Dhont meant to send. Gender dysphoria is something that deserves to be explored seriously and Dhont attempts to do that, but at the end of the day, is unsuccessful in that regard.

=I do like that the approach that Dhont takes is almost documentary-like. There isn’t here that you might consider melodramatic beyond the usual melodrama generated by teens. There is a lot here that gives outsiders an idea of what trans folks in the process of transition have to go through and it is nice to see that it is presented in a supportive manner; that isn’t always the case in real life.

At the end of the day I give the film high marks for good intentions, but demerits for not executing them as well as they might have been. This could easily have been an extremely important film, even an essential one, instead of merely being very good.

REASONS TO SEE: Tackles a subject rarely handled seriously in the movies. Takes a documentary-like approach.
REASONS TO AVOID: Way too long and accentuates the most conspicuous aspects of gender dysphoria.
FAMILY VALUES: There is a bit of profanity, sexuality, some nudity, adult issues and a shocking scene.
TRIVIAL PURSUIT: Inspired by the story of Nora Monsecour, a Belgian trans ballerina.
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 5/31/20: Rotten Tomatoes: 85% positive reviews, Metacritic: 73/100
COMPARISON SHOPPING: Girl, Interrupted
FINAL RATING: 7/10
NEXT:
Glass

Pick of the Litter – January 2019


BLOCKBUSTER OF THE MONTH

Glass

(Blumhouse/Universal) Bruce Willis, Samuel L. Jackson, James McAvoy, Anya Taylor-Joy. Security guard David Dunn is locked up in an institution for his belief that he has superpowers. But when a disturbed patient with 24 separate personalities including a homicidal maniac escapes, Dunn must put his powers to the test – knowing all of this is masterminded by evil genius Mr. Glass. This is a sequel to M. Night Shyamalan’s previous films Unbreakable and Split.. January 18

INDEPENDENT PICKS

Genesis 2.0

(Kimstim) Christian Frei. Jeff Goldblum as the fictional chaos theory mathematician once said “They were so busy trying to see if they could they never stopped to think if they should.” That was from the original Jurassic Park. Life is imitating art at a much more rapid pace than you might be aware; the discovery of a nearly intact mammoth carcass in the Siberian permafrost with muscle, liquid blood and fur intact has set off a frenzy of scientific interest as geneticists and virologists look to research the find and possibly bring an ancient mammoth back to life from the DNA recently discovered.  January 2

The Vanishing

(Saban) Gerard Butler, Peter Mullan, Ólafur Darri Ólafsson, Gary Lewis. In 1900 three lighthouse keepers in the Flannan Isles in the Outer Hebrides off the coast of Scotland disappeared without a trace and were never seen again. Although much conjecture about their fates was considered by the newspapers of the time, no explanation for their disappearance has ever been fully accepted. This film looks at one possibility. January 4

Ashes in the Snow

(Vertical) Bel Powley, Peter Franzén, Sophie Cookson, James Cosmo. In his quest for power, Stalin and the Soviet Union occupied many countries already reeling from the ravages of the war. A 16-year-old aspiring artist and her family are deported from the Baltic to Siberia due to her father’s anti-Stalinist stance. Young Nina draws what she sees in hopes that history will give a voice to those who have none. January 11

Girl

(Netflix) Victor Polster, Arieh Worthalter, Oliver Bodart, Tijmen Govaerts. A 15-year-old girl, born in a boy’s body, dreams of becoming a ballerina even as she begins her body transition but achieving all her dreams may not be enough. This is up for the Best Foreign Language Film at the upcoming Golden Globe Awards. January 18

The Image Book

(Kino-Lorber) Jean-Luc Godard, Buster Keaton, Dmitri Basil. Without a doubt Jean-Luc Godard is one of the great visual artists of our lifetime. His latest film can only be described as a cinematic collage which may seem random at first but I’m told tells a story in five parts that illustrates his take on the state of humanity as the 2010s circle the drain. January 25

The Wild Pear Tree

(The Cinema Guild) Domu Demirkol, Murat Cemcir, Bennu Yildirimlar, Hazar Erguçlu. A young man returns home to his village from college with the intention of becoming a writer. However, his father’s debts put a crimp in his plans and thrust his family into peril. January 30