Mike Woods

★Solarmovie★ Download Movie The Assistant
4.6 out of 5 stars - 469 votes
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• scores - 880 vote
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• Follows one day in the life of Jane (Julia Garner), a recent college graduate and aspiring film producer, who has recently landed her dream job as a junior assistant to a powerful entertainment mogul. Her day is much like any other assistant's - making coffee, changing the paper in the copy machine, ordering lunch, arranging travel, taking phone messages, onboarding a new hire. But as Jane follows her daily routine, she, and we, grow increasingly aware of the abuse that insidiously colors every aspect of her work day, an accumulation of degradations against which Jane decides to take a stand, only to discover the true depth of the system into which she has entered
• Kitty Green
• Year - 2019

• We were kids! if I hear that one more time. I love this already.

I wasn't expecting a horror movie cos I just clicked and watched without reading, I thought it would be about a woman who learns to get over her anxiety and fear of going outside lol. Shit looks pretty intense, gotta love Michelle too. Hollywood is really pumping out the garbage for 2020. Love the comment made by some character in the movie: the good ole boys of Winston Salem.

Director Kitty Green’s urgent real-time thriller marks the first narrative depiction of life under Weinstein's menacing grip. Harvey Weinstein doesn’t appear in “ The Assistant, ” and nobody mentions him by name, but make no mistake: Director Kitty Green’s urgent real-time thriller marks the first narrative depiction of life under his menacing grip. “Ozark” breakout Julia Garner is a revelation as the fragile young woman tasked with juggling the minutiae of the executive’s life, arranging a never-ending stream of airplane trips, staving off angry callers, and picking up the trash left in his wake. Beyond a few unfocused glimpses of a hulking figure roaming his office in the background, the Weinstein of “The Assistant” is a phantom menace who barrels down on the young woman’s life, but this fascinating psychological investigation doesn’t allow him to hijack a story that belongs to her. “The Assistant” doesn’t document the specifics of Weinstein’s abuses recounted by so many over the past two years; instead, it explores the harassment and control that kept his unwitting enablers under his grip. Green’s first fiction feature following the innovative true-crime documentary “Casting JonBenet” feels like a natural extension of her earlier work. Built out of immaculate research into the working conditions under Weinstein and how they affected many of the young women on its payroll, the movie unfolds as a gradual accumulation of intricate details, mapping out the character’s exhausting routine until it becomes her own private Twilight Zone. “The Assistant” adopts such a gradual pace that it sometimes works against the stunning performance at its center, but there’s no doubting the hypnotic power of a movie that digs inside Weinstein’s harrowing reign and observes the mechanics that allowed it to last so long. A quiet work with major ambitions, “The Assistant” is a significant cultural statement in cinematic form. As Jane, Garner delivers a masterclass of small, uncertain gestures. A Northwestern grad who harbors dreams of producing movies, she’s already enmeshed in an endless work cycle as the movie begins: Hopping out of her Astoria home before the sun rises, polishing up the vacant office, speeding through emails, printing out price sheets, and so on; the rest of the company slowly comes to life around her. Green constructs the atmosphere with a masterful focus on fragments of business talk, the clacking of keyboards, and ringing phones that draw out the drab nature of Jane’s work: She’s at once at the center of the action and entirely removed from it. And that includes the activities of her invisible boss, who only seems to notice her when she screws up. It doesn’t take long: After angering some moody client, Jane gets a call from her unseen overlord as fragments of his bitter tirade (“They told me you were smart”) are barely audible. The specifics matter less than the way the abuse plays out on Garner’s face as she sinks into her hands, and the formal procedure that follows is just a few steps shy of a dark joke: The pair of unnamed male assistants (Noah Robbins and Jon Orsini) who sit across from Jane and judge her every move assemble behind her to dictate an apology email, and Jane does as she’s told. As much as “The Assistant” involves the process through which one man exerts control over a woman trapped by his direction, it also shows how the toxic workplace infects others in its grasp. As the physical toil of Jane’s work piles up ? cleaning dishes, taking out the garbage, dealing with paper cuts ? she begins to notice the evidence of Weinstein’s worst crimes. The offhand discovery of an earring piques Jane’s interest, as does a passing comment from one of the men at the company that nobody should ever sit on the office couch. Green makes the brilliant gamble of letting audiences pick up the pieces. With time, it becomes clear that Jane sees no recourse but to contend with circumstances that have since become a matter of grotesque public record. For a while, “The Assistant” seems as though it could simply hover in Jane’s world for hours, as if presenting the #MeToo equivalent of Chantal Akerman’s “Jeanne Dielman. ” But then the movie injects a subtle plot twist, as Jane’s suddenly tasked with taking a young new assistant (Kristine Froseth) to her own hotel room. The wide-eyed Ohio transplant’s sudden A-list treatment confounds Jane, who seems as if she’s in denial about her boss’ real agenda with the young woman, and instigates a visit to the company HR office that pitches the movie into a whole new level of discomfort. Played by “Succession” star Matthew Macfadyen, the executive tasked with belittling Jane for her complaint magnifies the way the company exerted control over their liabilities and how they got away with it. The backlash Jane experiences from her small attempt to take charge is devastating, and it ends with a sudden email from her boss that gives her just enough encouragement to keep her in line. “The Assistant” pads out so much of its 85-minute runtime with eerie textures that it tends to linger on the same note of despair, and it struggles to move the story into a new place by its closing act. The tension dissipates as “The Assistant” drifts toward its finale, and there’s a lingering sense that it underserves Jane’s story by basking so much of the company’s happenings in total mystery. It’s hard not to imagine what Green, whose previous work has used reenactments and voiceover to immerse viewers in real events, might have accomplished if she’d paired these scenes with real accounts from Weinstein’s victims. On the other hand, “The Assistant” doesn’t need to overstate the nature of Jane’s conundrum. Best appreciated as an experimental narrative about workplace oppression, it’s a fascinating illustration of how the worst abuses can remain hidden even from those closest to the lion’s den. Green has not set out to make the definitive retelling of the Weinstein scandal, the reporting on his years of sexual abuse and coverups, or the fallout that destroyed his company. (Brad Pitt’s Plan B already has that project in development. ) Instead, the movie hovers in silent moments when taking action simply doesn’t seem feasible. The absence of payoff only adds to the haunting spell, and imbues the drama with purpose. Amid galvanizing stories about what it took to speak out, “The Assistant” is an essential reminder of why it took so long for the world to hear about it. Grade: B+ “The Assistant” premiered at the 2019 Telluride Film Festival. It is currently seeking distribution. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
OH MY GOD YESSSSLAFNKLDNFLDNFLD I CANT WAIT I LOVE THRILLERS. So if Shooter from Hoosiers was the coach the whole time then. Saying what a film is “about” is a marker of critical authoritarianism; when it doesn’t pin thoughts about a movie into the narrow confines of the film’s ostensible action, it does something more insidious?it gaslights readers into considering the movie to be something other than what they’ve seen. That’s why it’s essential to discuss, and to determine, what “The Assistant, ” Kitty Green’s emotionally devastating, conceptually powerful new movie, is about. The constraint of thought to exactly and only what’s seen, and the way a character is manipulated to disbelieve what she perceives, are the very premises of the action. “The Assistant” is a story modelled on what has been widely reported to have gone on at the Weinstein Company, at a time when Harvey Weinstein relied on his business to supply himself with young women to pursue for sex. (Just yesterday, Alyssa Rosenberg published a reminder, in the Washington Post, that such reports appeared as early as 2004. ) The main character of “The Assistant, ” who is on camera for nearly the entire film, is played by Julia Garner; according to IMDb, the character’s name is Jane, though I don’t recall the name being spoken in the course of the film (and, if it was, it was said only in passing). Jane is the assistant to the head of a film-production company, whose offices occupy two buildings on a Tribeca block, a busy company that, as one employee says, has thirty projects in development. The tone of her work, and its effect on her life over all, is ominous from the start of the movie, which opens like a horror film, with Jane leaving her Astoria apartment building in the early morning, in the dark before dawn, getting into a black car, and then entering, alone, the Tribeca building in which she works. She’s the first person in the office, and as she moves through the shadows of the modified industrial space, turning on lights and looking around, the mood is thick with menace and foreboding. As in a horror film, Jane seems likely to encounter a flesh-and-blood predator, evil spirits, or ghosts?and, in the course of the action, she meets some version of all three. Alone at her desk, she’s surrounded by binders?a word indissociable from Mitt Romney’s revealing debate gaffe about his “ binders full of women, ” and which turns out to be an apt association in “The Assistant. ” Jane turns on her computer, prints out the day’s business, places it on the desk of her (still absent) boss, and finds an earring on the floor of his office. She eats a bowl of Froot Loops (“Get Out”-style), and she hears voices?she’s not alone. A terrifying chill suffuses the mundane details of “The Assistant”: even her banal rounds of printing and xeroxing scripts, making travel arrangements by phone, and preparing glasses of water for visiting clients have an air of robotic alienation and impending doom. The nature of that looming terror is soon revealed. Jane, a recent college graduate, shares the front office with two young men, white and fratty, who seem to be in their mid- to late twenties, one nerdy and one slick. One of them asks Jane to handle a phone call; it’s the boss’s wife, who is furiously demanding to speak with her husband about her credit cards being blocked. Jane does her best to stay calm and take a message, but it isn’t good enough: soon thereafter, the boss buzzes Jane and berates her loudly (“They told me you were smart.... You’re good at ordering salads”) within earshot of her two male colleagues. The world of “The Assistant” is an ordinary one, but, as in a horror-fantasy of alternate realities, its details are out of whack?and many of the ominous perturbations of Jane’s experience have to do with sex. A Ukrainian woman, conventionally model-like, comes to the office, summoned to a meeting with the boss; she dumps her coat on Jane’s desk and delivers her passport for Jane to scan. Jane receives boxes from a mail carrier; do they contain DVDs? No, syringes of alprostadil (used to treat erectile dysfunction), several of which, later on, she’ll collect from her boss’s garbage can and place in a biohazard bag. Jane prepares checks for her boss to sign?schools, extracurriculars, babysitters, etc. ?and two of the checks, made out for thousands of dollars, have the recipient’s name left blank. The crux of the movie is a doubling of the title: another young woman shows up in the office, claiming to have been hired as an assistant. She seems to be about eighteen and has little apparent background for the work; she’s a woman whom the boss met in Sun Valley and invited to come for the job. He’s putting her up in the luxurious Mark Hotel and, soon after she gets there, he also heads to the hotel?as other colleagues know and even joke about. It would be a cruel spoiler to say what happens next; suffice it to say that, when Jane conveys her suspicions that the young woman is being exploited, she is menaced with a velvet glove of corporate coercion. “The Assistant” is a drama of moral epistemology, in which the details that Jane perceives have an obvious meaning that is being overlooked, denied, or ignored by the people who work in her office, and that Jane is being harshly and rigorously trained to dismiss, too. The movie’s subject, in effect, is: everyone knew, and everyone recognized that their interests depended on pretending not to know or not caring about what they knew, and making sure that others in their orbit would do the same. It’s significant that the office is dominated by men?and also that there are women, senior to Jane, who work there in positions of some authority, who are in on the coverup. The key is “pretending”: if there’s a margin of plausible deniability to the evidence that presents itself, then, no less than the boss would rely on it if accused, the employees can rely on it to exonerate themselves for inaction. If they can’t intellectually squeeze themselves into that margin, then they can concoct a hand-wavingly immoral justification for what they know. (One employee tells Jane, “Don’t worry, she’ll get more out of it than he will. ”) And, if they can’t bend their sense of morality to justify the boss’s actions, they can?in the final step?merely keep their mouths shut in the name of loyalty, self-interest, and fear. That third step, the ultimate safety net that the boss has woven for himself, is at the heart of the movie: the conditioning that Jane, a new employee (only a few months into the job), is receiving in order to make her what might be called a team player. In addition to the plethora of details suggesting to Jane that her boss is using his business to procure the sexual services of the women he’s hiring, the movie is filled with a profusion of details that show how her personality, her very identity, is broken down by the demands of the job and by her boss’s own conduct, how she’s being alienated from herself and subordinated to her boss’s authority.
I mean the timing for this movie is everything Iranian /American romance. The amazing / distinctive voice of Harrison Ford can never be missed. Jesus Christ. this looks amazing. I'm confused. apparently this movie came out 2 years ago... OMG, this movie can make me cryyyyyy?? Can't wait?.