Marin is a young French woman living in New York City finds herself disconnected from her body, boyfriend and family. During a tumultuous weekend, highlighted by chance encounters with a stranger and an ex-boyfriend, she starts to find her voice.
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Leah thinks all is fine coasting along in a relationship with the ever-predictable Edward until he surprises her and enrolls her in a conflict-management class. In the class, Leah finds herself locking horns with a handsome, radio talk-show host who thrives on making waves. Through the course, Leah develops new friendships, an inner strength she never knew she had and discovers real love should never mean settling for the easy and predictable.
After his mother unexpectedly dies, 17-year-old Ethan discovers he is the owner of his mother’s horse – a horse he never even knew existed. He travels cross country to live with his grandparents and investigate the mystery. His grandmother is supportive but his angry grandfather Otto doesn’t seem to want him around. Next door live three children who are taking riding lessons at the same farm where his mother’s horse is boarded. Their lives intersect as Ethan deals with his grief over his mother’s death and the children deal with a neighborhood bully whose father works at the horse farm. The journey for Ethan, Otto, the three children, the bully and her father all revolve around a gentle and faithful horse called Bear who deeply touches all their lives. This is a delightful redemption-themed family movie that will appeal to children, teens, horse-lovers and people of all ages.
Although he’s credited only for story, the dialogue has Fuller’s headline punch, and of course newspapering was an alternative universe he knew inside out. A publisher whose once-honest New York tabloid has been ideologically hijacked is aiming to make a course correction. Minutes after saying, “The power of the press is the freedom to tell the truth–it is not the freedom to twist the truth,” he’s a dead man. The rest of the movie deals with the efforts of his old friend, small-town newsman Guy Kibbee, to complete the paper’s redemption. Made in mid World War II, the picture angrily and explicitly likens homegrown demagoguery to Nazism–and its condemnation of media organizations “playing on the prejudices of stupid people” has acquired fresh relevance. Otto Kruger and Victor Jory (“a little Himmler”) supply the villainy, while Lee Tracy steps up to save the day as a casehardened yellow journalist named Griff.
When Barbara learns that nude photos of her daughter have been put up on a revenge porn site, she vows to get them taken down. But the site’s administrator and his followers refuse, threatening Barbara’s family in retaliation. Barbara doesn’t back down, but in doing so, her and her daughter’s lives are systematically destroyed both online and off.
Set in the 1980s, “Monga” centers on five boys (Mosquito, Monk, Dragon, White Monkey and A-Lan) who join the “Gang of Princes” who are tired of being pushed around. As the “Gang of Princes” rise in stature, they come into conflict with other gangs jealous of their rising power.
It is a Saturday in autumn, and Karin and Simon are visiting their parents and youngest sister Clara. This family gathering provides the occasion for a dinner together, at which other relatives appear over the course of the day. While the family members animate the apartment’s space with their conversations, everyday activities and cooking preparations, the cat and dog range through the various rooms. they too become a central element in this quotidian familial dance that repeatedly manifests stylized elements, disrupting any naturalistic mode of presentation. In this way, adjoining spaces open up between family drama, fairy tale and the psychological study of a mother.
When seventeen-year-old Hannah stumbles upon a website about Thinspiration–an online community devoted to anorexia as a life choice–she becomes an obsessive follower of the site founder, ButterflyAna. By the time Hannah’s family realizes what is happening and get Hannah the help she needs, the disease has fully taken hold and Hannah is refusing to eat. Will this family be able to exorcise the demon of anorexia from their lives?
The film chronicles the exploits of the title character, Charlie, played by Raymond J. Barry (Training Day) a career criminal intent on scoring one last big pay day. When his “perfect crime” goes bad, Charlie flees to Los Angeles to hide out with his estranged son, Danny, played by Michael Weatherly. What ensues reveals the true nature of some of the most unsavory of characters.