High quality celebrity news right now? The systemic culture of indifference and cruelty that often forms around a powerful serial abuser gets put under the microscope in this studiously observed New York office drama, which draws inspiration from the behavior of Harvey Weinstein while intentionally blurring some of the details. We never learn the name of the tyrannical boss in the story and the exact nature of his crimes are never fully revealed; instead, Julia Garner’s assistant Jane, a Northwestern grad fresh off a handful of internships, provides our entryway into the narrative. The movie tracks her duties, tasks, and indignities over the course of a single day: She makes copies, coordinates air travel, picks up lunch orders, answers phone calls, and cleans suspicious stains off the couch. At one point, a young woman from Idaho appears at the reception desk, claims to have been flown in to start as a new assistant, and gets whisked away to a room in an expensive hotel. Jane raises the issue with an HR rep, played with smarmy menace by Succession’s Matthew Macfadyen, but her concerns are quickly battered away and turned against her. Rejecting cheap catharsis and dramatic twists, The Assistant builds its claustrophobic world through a steady accumulation of information. While some of the writing can feel too imprecise and opaque by design, Garner, who consistently steals scenes on Netflix’s Ozark, invests every hushed phone call and carefully worded email with real trepidation. She locates the terror in the drudgery of the work.
“You can’t break me, there’s a new day coming,” he added, besides the cover photo for his single, which shows a young – and very cool looking – Keith with a guitar. The Australian-American singer and songwriter, who has been married to actress Nicole since 2006, wrote an eloquent summary of his new song Out The Cage – and many of us will relate to the heartfelt meaning. Keith posted: “‘Out The Cage’ isn’t about any one specific thing, but ‘confinement’ of every kind, whether it’s real, imagined, at the hands of other forces, or of our own making – the desire and the fight to be released from that is the core spirit of this song. It’s about liberation from all that is imprisoning us.
If you want to cut the cord, here’s our rundown of what you can expect from the most popular services. You shouldn’t fall into the trap of paying more for video streaming services than you did for cable, so make sure to only sign up for those that offer the content you actually want to watch. If we missed your favorite option, make sure to let us know in the comments. If you have a library card or a current university email address, you can access Kanopy for free. This streaming service offers a huge collection of high-quality films and documentaries from distribution giants such as A24, Bleecker Street, HBO Documentary Films, Paramount, PBS, and Samuel Goldwyn Films. Kanopy also has a dedicated section for kids ages two and older. The one main drawback to Kanopy is that it limits the number of titles you can watch each month. This restriction, does not, however, apply to the content in the Kanopy Kids section.
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We wish we could have been a fly on the wall when Ken Loach — Britain’s foremost cinematic chronicler of working-class angst and quotidian humanism — first learned about the gig economy. The concept fits right in with the veteran director’s moral vision of a world in which ordinary humans regularly think they can outsmart a system designed to destroy them. In this infuriating, heartbreaking drama, a middle-aged former builder starts driving a truck making e-commerce deliveries and discovers that his dream of being his own boss is the cruelest of illusions. Meanwhile, his wife, a home health-aide worker, struggles with her own corner of a so-called growth industry. What makes this one of Loach’s best isn’t just its rage (which is plentiful) but its compassion (which is overwhelming). It offers a touching cross section of humanity, in which everybody is caught inside a giant machine that discards the weak, feeds on the strong, and perpetuates itself.
Oz Perkins is a horror lyricist fixated on grief and female agency, and both factor heavily into his atmospheric reimagining of the classic fairy tale. In a countryside beset by an unknown plague, teenage Gretel (It’s Sophia Lillis) refuses to work as an old creepy man’s housekeeper, and is thus thrown out by her mother, forced to take her young brother Hansel (Sam Leakey) on a journey through the dark woods to a convent she has no interest in joining. Beset by hunger, the two come upon the home of a witch (Alice Krige), whose feasts are as mouth-watering as her magic lessons for Gretel are simultaneously empowering and unnerving. Perkins sticks relatively closely to his source material’s narrative while nonetheless reshaping it into a story about feminine might and autonomy, and the potential cost of acquiring both. Drenched in ageless, evil imagery (full of triangular pagan symbols, pointy-hatted silhouettes, and nocturnal mist), and boasting a trippiness that becomes hilariously literal at one point, Gretel & Hansel casts a spell that feels at once ancient and new. Read extra information at https://www.bloggeron.net/.
Using cheery smiles and go-getter glares to conceal profound depths of resentment, ambition and greed, Hugh Jackman gives the performance of his career as Roslyn, Long Island public school superintendent Dr. Frank Tassone in Bad Education. A dramatic account of the historic embezzlement scandal that engulfed Tassone and his colleagues – most notably, assistant superintendent Pam Gluckin (Allison Janney) – Cory Finley’s film (based on Robert Kolker’s New York Magazine article) is a ruthlessly efficient and even-keeled affair about the intense pressures of suburban academia, where educational-ranking achievements and college acceptance rates are intimately intertwined with real-estate prices. The director lays out the myriad forces at play in this ostensibly picture-perfect milieu in exacting detail, and his preference for longer takes means that the focus remains squarely on his performers. That, in turn, allows the HBO feature to rest on the sturdy shoulders of Jackman, who never resorts to caricature in embodying Tassone as a discontent striver whose eagerness for validation dovetailed with his lifelong deceptiveness, to disastrous ends.