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See top tv series online for free? Director Kitty Green’s scripted debut depicts a long day in the life of a low-level drone at an unnamed New York film studio not unlike the Weinstein Company. Jane (Julia Garner) takes calls and makes copy and scrubs the bodily fluids off the couch in her boss’ office, all with the same look of grim understanding that this is what she has to endure to get ahead in her dream industry. Spare and devastating, The Assistant serves up a portrait of an abusive workplace in which the behavior of the unseen man at its head trickles down to inform the power dynamics and behavior of the rest of the company. That includes HR, to which Jane pays a visit in a brutal centerpiece scene that emphasizes what it’s like when the only choices open seem to be to become complicit or to give up.

No matter that her characters are plagued by malevolent supernatural forces, Natalie Erika James’ directorial debut is a thriller with grimly realistic business on its mind. Called back to their rural Australian childhood home after matriarch Edna (Roby Nevin) goes temporarily missing, Kay (Emily Mortimer) and daughter Sam (Bella Heathcote) discover that the past refuses to remain dormant. The specter of death is everywhere in this rustic residence, whose cluttered boxes and myriad artifacts are reflections of its owner’s mind, and whose creepy wall rot is echoed on Edna’s aged body. Edna’s vacant stares and strange behavior are the catalyst for a story that derives considerable suspense from unnerving set pieces and, more pointed still, the question of whether everything taking place is the result of unholy entities or the elderly woman’s physical and mental deterioration. That balance is key to Relic’s terror as well as its heart, both of which peak during a claustrophobic finale set inside a literal and figurative maze, and a coda that suggests that there’s nothing scarier, or kinder, than sticking with loved ones until the end.

In short stories like The Lottery and novels like The Haunting of Hill House, Shirley Jackson conjured unease, tension, and queasy strangeness that made them difficult to put down. Fittingly, Shirley, an adaptation of a novel by Susan Scarf Merrell, examines a highly pressurized moment in the author’s life that makes for occasionally nerve-rattling viewing. As played by Elisabeth Moss, Jackson can be temperamental, brilliant, and cruel, especially to Rose (Odessa Young) and Fred (Logan Lerman), the newlywed couple that move into the paper-strewn house she shares with her controlling professor husband (Michael Stuhlbarg). Where Decker’s previous exploration of the creative process, the dizzying Madeline’s Madeline, took an often nonlinear, combustible approach, Shirley retains some of the stuffy mechanics of the writerly biopic, particularly in the scenes of Jackson typing away at what will become her novel Hangsaman. (That book, which was partially inspired by the real-life disappearance of college student Paula Jean Welden, was written earlier in Jackson’s life than the movie portrays.) But Moss’s mischievous performance, the subtle interplay between the two women, and the feeling that the movie could tilt over the edge into chaos, chasing darker impulses and rolling around in the mud with Decker’s roaming camera, keeps it from falling into many of the traps set by the often worshipful “great artist” micro-genre. Discover more details at watch movies online free.

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Steve Coogan and Rob Brydon follow the path first traversed by Odysseus in The Trip To Greece, once again engaging in the witty banter and dueling celebrity impressions that have become the hallmark of this Michael Winterbottom-stewarded comedy series. For this fourth and ostensibly final installment, the bickering couple (Coogan arrogant and condescending; Brydon cheery and patient) enjoy fine meals and show off their imitative vocal skills, here highlighted by Coogan doing a pitch-perfect Ray Winstone as King Henry VIII. In keeping with its predecessors, the duo’s latest colors its humor with a strain of wistful regret rooted in their thorny feelings about transitioning into middle age. Anxiety about mortality turns out to be more pronounced than ever, particularly via Coogan’s Ingmar Bergman-esque dream sequence, which is related to dismay over his father’s failing health. Nonetheless, the alternately combative and chummy English pair remain in fine, funny form, and their swan song proves to be their most substantive collaboration since their maiden outing.

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