The Back-Up Plan (2010): A Heartfelt Rom-Com with Depth
Jennifer Lopez leads the story as Zoe, a determined woman who opts for artificial insemination after a string of failed relationships. Lopez's portrayal adds depth and warmth to Zoe

A documentary portrait of the African photographer Malick Sidibe, and a journey through Malian history inspired by his iconic images. Sidibe's snapshots from the late 50s through to the early 70s capture the carefree spirit of a youth asserting their freedom from colonialism in the early days of Malian independence - until a coup ushered in decades of austere military dictatorship. So this is a film not only about art, but also about a culture reflected through a camera lens, in a country that today is one of the poorest in the world.
Jennifer Lopez leads the story as Zoe, a determined woman who opts for artificial insemination after a string of failed relationships. Lopez's portrayal adds depth and warmth to Zoe
"WHAT ARE YOU WILLING TO SACRIFICE?!!!!" "EVERYTHING!!!!!" This is but one of a multitude of highly emphatic questions, and subsequent answers, being asked in the newest feature film from one of the current masters of horror, Jordan Peele ("Get Out", "Us" and "Nope"). I must give Peele credit in that he continues to push the boundaries of specific genres and their associated tropes in order to provide what ends up amounting to subtly then jarringly intense, yet still character and story-driven, cinema that speaks more to indie stylings than mainstream.
One of the reasons I love watching movies is that, much like books, they serve as windows into other times and different places. Productions from around the world offer valuable insights into the history and culture of their respective countries. And just like literature, cinema can help us understand the present by showing us the past.
An analysis on how the Garfield movie fails to represent the characters it is adapting, especially the women, by removing their best characteristics.
... La huesera haunts her daily life, leaving people to question her viability as a mother, and Valeria’s lack of satisfaction with her life leave her asking similar questions. These misgivings reach their peak after the baby is born, when Valeria, visibly in a state akin to possession, locks her in the fridge when she won’t stop crying through the night
Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.