Bella Thorne accuses Mickey Rourke of bruising her genitals on movie set

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Actor claims working with Oscar nominee on set of thriller Girl is ‘one of the all time worst experiences’ of her life Bella Thorne has accused fellow US actor Mickey Rourke of bruising her genitals with a metal grinder on the set of a movie that they filmed together during what she described as “one of the all time worst experiences” of her career. In a story on her Instagram account on Friday, Thorne alleged that the episode was part of a broader campaign to humiliate her while they collaborated on the 2020 thriller Girl. She wrote: “This fucking dude. GROSS” and relayed the account in writing over a copy of a BBC article reporting that Celebrity Big Brother’s producers had reprimanded him for aiming homophobic comments at the singer JoJo Siwa while they competed on the reality show. Continue reading... from Film | The Guardian https://ift.tt/d5UkXio via IFTTT
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Death of a Unicorn review – Jenna Ortega shines in B-movie-style satire on big pharma

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Murderous unicorns run amok in Alex Scharfman’s gory American horror that gleefully embraces a lo-fi aesthetic but lacks sufficient bite

What if unicorns were badass? What if, rather than the twee, sparkly fairy creatures that distribute magic and glittery microplastic at kids’ themed birthday parties, unicorns were fearsome beasts with deranged amber eyes, huge tombstone teeth that could sever a man’s arm, and horns covered in the entrails of their victims like flesh pennants? It’s an appetising central premise. And this Paul Rudd and Jenna Ortega-starring horror comedy, produced by the achingly hip boutique studio A24, certainly delivers on the grisly, torso-skewering gore. Maybe the jokes could have been sharper, but at least the unicorns’ horns make their point.

Killer unicorns are not an entirely novel concept. The ultraviolent 2022 cult feature animation Unicorn Wars – described by its director as “Bambi meets Apocalypse Now meets the Bible” – pitted unicorns against teddy bears in a savage battle for supremacy. But it’s a sufficiently distinctive selling point for this pulpy feature debut from producer turned director Alex Scharfman. What’s less original is the messaging that underpins the blood-sodden mess: that the real monsters are not the unicorns, but the evil representatives of big pharma – in this case, company boss Odell, played by Richard E Grant, his trophy wife, Belinda, played by Téa Leoni, and their idiot son, Shepard, a role that allows Will Poulter to hog the lion’s share of the best jokes – plus most of the recreational drugs.

In UK and Irish cinemas

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