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Awesome movies celebrity news with Bloggeron? In what hasn’t exactly been a great year for action movies so far, Bad Boys for Life has to be the biggest surprise. Given its lengthy production history, its January release date, and the departure of series director Michael Bay — the action auteur gets a winking cameo here, perhaps taking a break from shooting Netflix’s 6 Underground — this movie could’ve been a disaster. Instead, Smith and Lawrence easily slip back into the roles that made them action movie icons in the ’90s and the writers find a way to update the garish, over-the-top aesthetic of the series for the franchise era. In a wise decision, directors Adil El Arbi and Bilall Fallah don’t even bother trying to top the excess and mayhem of Bay’s Bad Boys II.Bad Boys For Life is a gentler, sillier movie than its predecessor, less interested in moments of vulgarity than in scenes of sitcom-like human connection and familial melodrama. There are explosions and car chases through the streets of Miami and jokes about getting too old for this shit, but the material is given a light touch that lets the two stars do what they do best.

Taking to Instagram, the Country singer, who was born in New Zealand but moved to the US in 1992, shared a beautiful picture showing wife Nicole Kidman with their two daughters in front of an American flag. Thank you to all the service men and women AND their families for all you’ve done and continue to do for ALL of us! Blessings and deep gratitude from our family to you and yours,” he wrote alongside it. The snap shows the women in his life dressed casually, with Nicole, who is wearing a straw hat, putting her hand on her youngest daughter Faith’s shoulder. Sunday Rose, who turns 13 next month, can be seen in front of them.

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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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.

The darkness is all-consuming, as is despair over a lost past and future, and a purgatorial present, in Vitalina Varela, Pedro Costa’s aesthetically ravishing true tale of its protagonist, a Cape Verde resident who returns to Portugal mere days after her estranged husband’s death. Vitalina wanders through this dilapidated and gloomy environment, which Costa shoots almost exclusively at night, the better to conjure a sense of ghosts navigating a dreamscape of sorrow, suffering and disconnection. Each of the director’s images is more ravishing than the next, and their beauty – along with an enveloping soundscape of squeaking beds, sheets blowing in the wind, and rain pattering on crumbling roofs – is enchanting. Presenting its story through fractured plotting and dreamy monologues, the Portuguese master’s latest is a series of tableaus of lovelorn grief concerning not only Vitalina but also an aged priest in spiritual crisis and another young man poised to endure his own tragedy. The film’s formal grandeur – its compositional precision, and painterly interplay of light and dark – is overwhelming, as is the majestic presence of Vitalina herself. See more info on https://www.bloggeron.net/.

Aviva tackles the multifaceted nature of gender identity in fittingly diverse fashion, depicting the highs and lows of a couple’s relationship via narrative and modern-dance means – as well as by having both a man and a woman play each of its protagonists, male Eden (Bobbi Jene Smith, Tyler Phillips) and female Aviva (Zina Zinchenko, Or Schraiber). That Bunuelian device speaks to the masculine and feminine sides of both characters, whose ups and downs together and apart form the basis of Boaz Yakin’s (Remember the Titans) unconventional semi-autobiographical tale. From email pen pals, to husband and wife, to estranged exes, Eden and Aviva’s love story is told from both external and interior vantage points. The writer/director employs narration, shifts in perspective, flashbacks, and wild dramatic scenes—both male and female Edens and Avivas sometimes share the screen, partying, arguing or having passionate sex—to provide an intimate sense of the desires and fears propelling these conjoined figures forward. Yakin’s sinuous, passionate indie is as entrancing as it is daring.