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Top movies celebrity news right now? 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.

“We got married, and I hadn’t taken care of my problems, and so my demons just came and kicked my a– and her a– and blew our world up. But this woman rallied the troops,” Urban told The Boot and other publications at the opening of his Country Music Hall of Fame exhibit in 2016. Performing at an airport isn’t too unusual, especially in Nashville where artists regularly play at the bars and restaurants in the terminal. But playing at a tiny regional airport in Australia is a little more unusual. Urban told The Late Late Show with James Corden that this was the strangest place he’s ever played, explaining that he and his band played on the small platform above the baggage claim carousel. “There’s about 15 people kind of getting into it, and I’m like, ‘This is not so bad.’ The next minute all the bags come out and everybody got their luggage and they just all left,” he shared.

Stay up to date with the latest streaming hits with our recurring feature on what to watch this weekend. Does your home’s Wi-Fi coverage not extend to your backyard oasis? We also have story on how to download videos from every video streaming service for offline playback. Even though you may not be able to be in the same physical place as your friends and family due to COVID-19, you can still watch the same shows together. HBO supports Scener, a remote co-watching tool, and you can use the Netflix Party Chrome extension to sync that service’s video playback across devices. Hulu ad-free subscribers, Amazon Prime Video members, and Plex users also get co-watching features. Disney+ is the latest service to add co-watching capabilities.

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The tony Pennsylvania prep school in which Tayarisha Poe’s nimble debut takes place might bring to mind mean-rich-kid chronicles like Cruel Intentions — but it has more in common with Rian Johnson’s 2005 baby-faced neo-noir Brick. Selah and the Spades is a teen drama in which the line between social clique and mob family feels incidental, taking place in a boarding-school bubble that’s enthralling and insular, privilege serving as a kind of leveling agent that makes day-to-day skirmishes for dominance the only thing that matters. And at the still center of this surprisingly tumultuous world is Selah (Lovie Simone), a character whose desire for a successor wars with her instinct to destroy anyone who challenges her place — even when it’s someone of her own choosing. It’s a compelling portrait of someone who, having made herself the queen of this limited kingdom, finds herself terrified of life when she leaves.

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. See additional info on 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.