M&S shoppers rave about 'flattering' and 'comfortable' jeans costing just £22.50

Will Smith is tapping back into the music. On Thursday, the Oscar-winning actor shared an Instagram video of him doing a duet with 10-year-old bass player Ellen Alaverdyan to his song, «Just the Two of Us.» «Wow!!! @ellenplaysbass, this is FANTASTIC. You are the Sweetest! Tagging in @jacross @elewrockjazz… Put somethin’ on it,» Smith captioned the video.In the clip, Alaverdyan plays the bass line of the song, while Smith chimes in with the first verse of the rap, before drummer, Jorge Sanchez, ends the video with a drum solo.

The 2023 Oscars are airing tonight and there have been two major changes to the performers and presenters list.

Making a movie with your own child is perilous enough at a time when the media, which is stuffed with them, has decided that “nepo babies” are the latest blight on the eco-system of filmmaking. It’s even more of a risk when your private life has been splashed all over the tabloids, and the facts of that controversy — man leaves wife and kids to start a new family with a younger woman — are a key part of that movie. But whether or not Ewan McGregor and his daughter Clara saw the film as a chance for family therapy, or whether they even thought about these things at all, Emma Westenberg’s affecting, slow-burn debut leaves all that kind of real-world baggage firmly at the door.

Owen Gleiberman Chief Film Critic In “Bottoms,” a high-school comedy that is brazenly gonzo, scaldingly and at times even dementedly over-the-top, and actually about something, PJ (Rachel Sennott) and Josie (Ayo Edebiri) have been best friends since the first grade, but in their senior year at Rock Ridge High they’re at the end of their tether. They’re losers, they’re lonely, they’re lesbians — and in their eyes, that puts them beneath the bottom of the food chain. So they do what anyone in their position might do. They decide to start a fight club! It’s modeled (sort of) on the one in “Fight Club,” though the movie isn’t particularly interested in that film, where the characters staged bare-knuckle brawls out of a kind of self-serious macho romantic doomsday nihilism. In “Bottoms,” PJ and Josie, in the time-honored tradition of teen-movie protagonists out to lose their virginity, are just looking for a way to sleep with the cheerleaders they have crushes on. They build the club around a scurrilous and rather ridiculous lie: that they’ve both spent time in “juvie.” Sitting around in the gym, with a handful of the “normal” girls they’ve roped into joining the club, all of them share stories about the men they’ve had to fend off (stalkers, pervy stepfathers, you name it). And when they get to the fight-club part, letting out their aggression, the jabs are shockingly violent. We laugh, but we also think: What’s going on here?

The filmmaker's reunion with "Shiva" star Rachel Sennott is a much broader and sillier affair.

The "New Girl" star tells a wildly goofy story with the right mixture of silliness and sweetness.

Guy Lodge Film Critic Nearly 125 years after her assassination, the Empress Elisabeth of Austria — or Sisi to her enduring cultists — continues to inspire a veritable industry of portraiture in Europe: In the last year alone, a novel, two TV series (one of them a glossy Netflix affair) and two feature films have been dedicated to the tightly corseted royal icon. Viewers outside the Continental sphere of Sisi-mania may only have registered one of those films, Marie Kreutzer’s chic, subversive anti-biopic “Corsage,” which might make the second, German director Frauke Finsterwalder’s lush, irreverent “Sisi & I,” seem to them a too-soon spare — coincidentally repeating several tricks from Kreutzer’s anachronistic playbook with its modern feminist inflections, contemporary soundtrack cues and sensational fashions, albeit with plenty of its own panache.

Daniel D'Addario Chief TV Critic The story of Kim Philby is perhaps too good to make up. The British spy, a double agent for Moscow, operated at the highest levels of the intelligence community; his ability to disseminate information to the Soviet Union, to which he eventually defected, is proof, perhaps, of the power of personal charm and erudition to cover over what’s lying in plain sight. That’s the powerfully told story of “A Spy Among Friends,” which streamed on ITVX in the United Kingdom last year and which now arrives on nascent streamer MGM+. Guy Pearce plays Philby, who has at the series’ outset been a valued Soviet source for many years; likely his closest friend in tradecraft, Nicholas Elliott (Damian Lewis), must get a confession from him. We see the pair’s relationship over time in layered flashbacks, adding context and understanding to Elliott’s failure to nail down Philby.

Directed by Emma Seligman and written by Seligman and Rachel Sennott, Bottoms, is a coming of age story about two horny teenage girls kicking, punching, and slamming their way to getting laid. The film has a stacked cast including Sennott, Ayo Edebiri, Havana Rose Liu, Kaia Gerber, Ruby Cruz, and Miles Fowler. This comedic journey of its young protagonist is not without its issues, but it’s unapologetic in its execution and filled with memorable moments.

Helen Skelton to deliver some serious sartorial flair, and on Saturday, the presenting whizz resembled a denim dream in the most gorgeous dress.Taking to Instagram, the 39-year-old dazzled her followers with a stunning selection of photos giving centre stage to her retro frock. In the sunlit snaps, Helen looked positively glowing as she cosied up to TV star Sara Davies.WATCH: Helen Skelton shares insight into sun-soaked family trip awayEmbracing the spring sunshine, Helen rocked a button-down denim dress complete with ruffles galore and a waist-cinching belt.

A supermarket is under fire for the increasing the price of a shopping essential from its budget range.

Joe Leydon Film Critic There are times when you look back at pop culture phenomena and can’t resist the urge to ask: Can you believe this actually happened? Tackling a notorious fiasco in one of the galaxy’s most popular franchises, Jeremy Coon and Steve Kozak’s amusing and exhaustive documentary ”A Disturbance in the Force” unpacks 1978’s “Star Wars Holiday Special.” You don’t have to be an obsessive “Star Wars” fan to enjoy this behind-the-scenes look at how the special — which premiered Nov. 17, 1978 on CBS, and has never been re-run on any broadcast or cable outlet — came to exist. To be sure, the fans will appreciate it a lot more than casual viewers. But it’s also an irresistible hoot for anyone with fond memories of star-studded 1970s musical/variety TV specials — a specific type of highly popular general audience entertainment that, truth to tell, very often showcased more campy excess than anything in the “Star Wars Holiday Special.”  

When someone is faithful to a particular product or brand it can be difficult persuading them to swap.

Difficulty concentrating at school, no eye contact and emotional outbursts. The signs were there from the start.

Peter Debruge Chief Film Critic There are movies made during the pandemic, and movies made because the pandemic, and though debuting director Jake Johnson had been kicking around the idea for “Self Reliance” for years, it took COVID to motivate him to make it. Why? Because the “New Girl” actor’s absurdist concept — about a sad-sack bored enough with his life that he agrees to risk it in a “Most Dangerous Game”-style reality show — assumed both profundity and relevance as soon as the species went into lockdown. Coming up for connection, Johnson delivers a silly and frequently surprising why-we-need-people parable. The helmer plays Tommy, who’s been a passive bystander in his own life for as long as he can remember, until one day famous dude Andy Samberg (who also happens to be among the film’s producers) randomly pulls up in a stretch limo and offers Tommy a ride. Should he take it? Probably not, but Tommy’s bored enough to accept, agreeing to meet a pair of eccentric producers who inform him that he’s been selected for a chance to win a million dollars. All he has to do is survive for 30 days, while a team of highly trained “hunters” try to take him out.

There are lots of ways to pitch If You Were the Last. How about “Michel Gondry remakes When Harry Met Sally — in space!” Who wouldn’t want to see that? But for all the ingenious hot takes one can dream up for Kristian Mercado’s ambitious feature-length debut, there’s no escaping the fact that it’s less than the sum of its parts. To be brutal, although it does, for an hour at least, cast a spell, raise interesting metaphysical questions, and center on an odd couple who, for once, actually don’t seem like they’ll get together and then totally convince us when they do — it doesn’t really pass muster as a movie at all.

The "Pitch Perfect" actor takes on body image and mental illness in this sometime uncomfortable but often rewarding indie.

Amy Nicholson Hooray! A romantic comedy that revives the screwball formula where two people talk themselves silly — and we only had to go to the end of the solar system to make it happen. Adam (Anthony Mackie) and Jane (Zoë Chao) are the sole surviving astronauts on a ship with no navigation and no communication system able to transmit their grievances to their NASA superiors who presumably think them dead. How long have they been adrift? Three years. How literal is the title “If You Were the Last”? Very.  But Kristian Mercado, making his narrative debut after directing a string of stand-up specials, and Angela Bourassa, who wrote the Black List-hailed screenplay, haven’t made a film about settling for the nearest sexual organ. (“You have the only penis for a million miles,” CC admits; nevertheless she sees him “like my big brother and my little sister … and he’s kind of like my dog.”) Instead, the swooning comes from watching these platonic shipmates debate why they should, and shouldn’t, settle — only to realize that their ability to have these frank talks is the fuel of a great relationship. 

Google the origins of Flamin’ Hot Cheetos, and one can quickly fall down a rabbit hole of half-truths and urban legends. The popular story – the one now cemented in film history – says that the brand of Cheetos was initially conceived by maintenance worker Richard Montañez.