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Everyone agreed that Cassie was a young woman with a future … until something unexpected happened to change everything. But nothing in Cassie’s life actually matches up with appearances: she’s as smart as she is cunning, glamorous as calculator, and leads a double life after dark...

I’m Your Woman is not for everyone. If it was for everyone the producers would have found another comic book character and we would have another steaming empty piece to watch for two hours. It’s a slow burning story. I like this because I want to be interested in the characters before knowing (or having to determine) their fate. I want to see Jean’s transformation especially since she’s just Eddie’s wife for the first part of the story. She starts aimlessly as a pretty face that he didn’t marry for her cooking. Either way the plot moves pretty fast and we’re presented with a detective film that is no different from most crime films. Except for the transformation of John and humanity. The kindness of strangers along the way. The touch of a stranger in a laundromat all good people. There are a few events in the film that cannot be overlooked. Perhaps these events will cause some viewers to find one or two of the heroes beyond repair. (I remain vague to avoid spoilers). But at least it gives you something to think about when you watch it. I also like Aretha’s two songs Natural Woman and The Weight. If you like independent movies I think you will like this one...

The bodyguard, Michael Bryce, is hired by Darius and Sonia Kincaid to join them to help them on a mission along the Amalfi Coast...

A long time since I had seen such a bad movie, not even worthy of a cheap TV movie. Laughing scenario and action scenes, actors playing in tune. What is Guy Pearce doing in this unspeakable galley? And I pass on the very low moral of the hat with the hero who executes the villain at the end, while the latter is disarmed and at his mercy...

Abby is looking forward to spending a quiet Thanksgiving evening over a delicious turkey with her best friend, Molly...

Seven years after a disaster brought humanity down from the top of the food chain and reduced to a snack for a revengeful mutant fauna, Joel is one of the lucky lucky ones who can still survive in an underground base. Finally happy … Joel is not so sentimentally speaking in front of the display in love with his companions, all as a couple, while he dreams of finding his beloved (named Aimee) locked in another bunker miles away. the. One day, on a whim, Joel decides to go join her against the advice of his comrades who strongly doubt his ability to survive alone … A young hero withdrawn into himself, clumsy and who writes rules ( in the form of drawings here) to escape the dangers of a post-apocalyptic world … No, no, it is not the character of Jesse Eisenberg in “Zombieland” but the one played today by Dylan O ‘Brien in “Love and Monsters”, it must be said that the confusion is easy as the film by Michael Matthews borrows many ingredients from the recipe for the zombie-comic saga of Ruben Fleischer. Beyond his hero, we find in fact the same tone of quirky post-apo survival, focusing as much on the absurdity of certain perilous situations as on the sluggish side of Joel in the face of survivor models always ready to room him. , the building of a surrogate family around Joel along the way and even a few supporting roles that make it up also furiously recall the spirit of “Zombieland” (Michael Rooker is really reminiscent of a light version of Woody Harrelson not to mention his little sidekick). In short, “Love and Monsters” follows in the footsteps of its famous model and, basically, we must admit that it fulfills this task effectively thanks to certain strengths. The formula of the film is not original enough to ensure its only identity, no big deal, “Love and Monsters” can at least create an illusion thanks to the richness of its very successful bestiary and extending to the entire animal order where “Zombieland” is rightly limited by his. The humor clearly does not have the same punch as in Ruben Fleischer’s film (despite some pretty smiles, it must be admitted), no big deal either, “Love and Monsters” will use it especially for the purpose of ” accentuate our emotional attachment to the relationships between his characters (the one between Joel and Boy is just irresistible) and the initiatory journey of his hero by increasing the number of more or less happy encounters to finally get his head out of his introvert hole for too long withdrawn into his memories. So, of course, all this does not completely hide the fact that “Love & Monsters” is a feature film which borrows much more than it creates, but, as it stands, it does so with sufficient discernment to offer a lot. result of pieces of bravery combining spectacle and emotion around monsters sometimes more human than their opponents. Thus, the term “boredom” quickly disappears from our vocabulary for the duration of this pleasant entertainment and, even beyond that, we find ourselves wanting to find this universe and its characters later in a potential sequel...

A few days after Christmas, Ida and her sister Tuva organize a winter diving trip in a remote corner of the Norwegian coast. During the dive, a landslide wedges Tuva underwater. As Ida surfaces for help, she discovers that the landslide has also buried their equipment, phones and car keys…...

After the suspect Retaliation, Logothetis does not give up the levers and goes even further into disorderly delusions. Here, he embarks contagiously like the guru of a new art no less than Franck Grillo, Tony Jaa, Nicolas Cage, Alain Moussi and Juju Chan in a delirium à la Power Ranger, the colors less, obviously not the costume budget, to face an extraterrestrial who practices Jiu Jitsu every millennium with the chosen being. Do not miss to discover the filmography of the guy and his craze for sequence shots, feverish alongside the regular Tony Jaa or again with Moussi, with a dubious alternation of subjective view in which the stuntman disarms himself of the bust camera to put it everywhere in the decor. I thought Max Steel had missed the boat, finally he was emulated...

We appreciated the tandem Peter Berg / Mark Wahlberg, but the disappointment generated by “22 Miles” sounded like the film too many in the collaboration of the two friends who had become inseparable since “Blood and Tears”, “Deepwater” and “Hunt for Boston”. Following the very relative box office success of their latest feat of arms, the two men logically left (like many of their colleagues) to rebuild their health on Netflix and, to say the least, is that their new project did not have enough to arouse great enthusiasm on paper as it stirred up well-known ingredients and already, for some, explored by themselves through their common or respective filmographies. Rogue cops, gangs, FBI, murders, conspiracies and obviously the sacrosanct city of Boston in the background … It’s very simple, we almost had the impression of having seen “Spenser Confidential” before even start it, just could we hope that Berg’s talent in terms of action transcends this thriller which we thought we knew everything in advance … Well, on the overall plot of “Spenser Confidential”, we do not was not really mistaken. With his ex-cop slayer of injustices and returning to the bacon of a plot where gravitate various shady strata of the Bostonian landscape, we can not say that the new film of Peter Berg surprises us with its twists or turns out to be very credible by his excessive desire to always personally involve his hero in the stakes. As such, the enormity of the concomitance between a certain murder and his release from prison or that of the revelation around one of the culprits will be particularly difficult to swallow. However, these classic strings of a time-worn detective novel that the film takes great pleasure in handling with the greatest seriousness in the world will ultimately find meaning through their combination with a kind of unexpected coolness of the great buddy-movie. time. Perhaps because he himself is also inspired by a series of books with the same hero, the character of Spenser first appears rather quickly as the Bostonian counterpart of Jack Reacher: a modern vigilante with a big heart, capable lightness thanks to unexpected features of humor in the surrounding darkness but also the most able to respond to violence with violence by not hesitating to chain kicks (or machetes) in the anthill he chose to destroy. But where Jack Reacher acted most of the time solo, Spenser is then rewarded with a team of colorful characters who will further amplify the shock between the casual tone and the dark atmosphere of the feature film. ! The sparks caused by the complementarity between the mad dog Spenser (Mark Wahlberg, very fit) and the quiet strength of the giant Hawk (excellent Winston Duke) will be the best spearhead, recalling the best duets of detective films of the genre of the 90’s. , but the supporting roles around them will not be outdone: Alan Arkin, an obvious patriarch of this recomposed “family”, and, above all, the blonde fury Iliza Shlesinger unleashing her wrath with jubilation at each of her appearances. The very entertaining interactions between this makeshift team and, as expected, Berg’s ability to bring violence to the screen in effective action scenes will make “Spenser Confidential” more than honest entertainment and reconnecting with it. soul of the finest hours of its kind...

Zach Sobiech, a 17-year-old musically gifted teenager, has bone cancer (osteosarcoma). A final year student, he is bursting with life and projects. But when he learns that his cancer is generalized, he decides with his best friend Sammy – who is coping with him – to make the most of the little time he has left. Thanks to their teacher Mr. Weaver, Zach and Sammy manage to sign a contract with a record company...