Zoe Reynard (Sharon Leal) is beautiful businesswoman who seemingly has everything going for her; she's successful in her work in the art industry, she has the man of any woman's dreams as a husband and a perfect family she wouldn't change for the world. However, things get complicated when she visits the studio of a handsome artist named Quentin Matthews (William Levy) whose work she wishes to license and she stumbles onto a dangerous path of temptation which could threaten her whole life. Unable to resist her urges, she finds herself cheating on her husband Jason (Boris Kodjoe) while trying to combat her addiction like desires through therapy. Unfortunately, Jason soon gets suspicious, and Zoe struggles to work out where her deeprooted problems lie as her family life hangs in the balance. She has to do something to save herself, but just how far will her desperation take her?
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International pharmaceutical company The Umbrella Corporation's deadly T-virus - initially designed to dramatically alter living and recently dead organisms - continues its rapid spread throughout the world, turning everyone in its path to flesh eating zombies, after it was released from the company's underground base near Raccoon City.
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Milla Jovich returns as Alice, one of her most loved characters, in Resident Evil: Afterlife. Continuing on her search to find and help rescue survivors of the lethal virus outbreak she travels to LA. Alice finds herself in a city overrun by the undead and more importantly she also finds the Umbrella corporations base.
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It's been 14 years since a scientist (Cromwell) invented surrogates, robots controlled by brainwaves that let us experience anything. Now some 99 percent of the population has one, and people spend their lives in darkened rooms living virtually. Then FBI Agent Greer (Willis) and his partner Peters (Mitchell) discover that a guy (Noseworthy) has a weapon that can kill both surrogates and their human controllers. But the hunt for this weapon opens old wounds with the humans-only religious fanatics who live on reservations and follow the word of their Prophet (Rhames).
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Genres, like many things in life, work well when slightly blended together. Take darkly comic thrillers or lighthearted romantic comedies - they're both in the same general emotional ballpark. On the opposite end of the spectrum might be, say, making a movie that's equal parts comedy-free romance, transvestite and fart comedy, and domestic violence drama.
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The film's setup is simple. Dre (Taye Diggs) and Sidney (Sanaa Lathan) have been very close friends since childhood, when hip-hop was just coming into its own. Dre is a well-known hip-hop record producer who is unhappy with his job and is about to get married. Sidney is a magazine editor who is working on a book about the origins of hip-hop and cannot find the right man to fit her groove. She is of course secretly in love with Dre because he is the only man who can connect with her and her music, and Dre is secretly in love with Sidney because she is the only woman who will support his dreams. Both Dre and Sidney have problems with the other's initial choice of spouse (Nicole Ari Parker and Boris Kodjoe).
Continue reading: Brown Sugar Review
Both a winning, friends-or-more romance with intelligent, down-to-earth characters and a melodious love-letter to the heart and soul of hip-hop, "Brown Sugar" signals director Rick Famuyiwa's emergence as an articulate, grown-up voice in African-American (and cross-over) cinema.
Far more mature and perceptive than recent stereotype-hocking, battle-of-the-sexes "comedies" like "The Brothers" and "Two Can Play That Game," this movie may not have a terribly original plot -- in the midst of plans to marry other people, two life-long best friends (Taye Diggs and Sanaa Lathan) finally realize they're meant for each other -- but the story is built around smart, appealing, multi-dimensional characters whose romantic (and other) problems are not simplistic or easily resolved.
The supernaturally handsome and magnetic Diggs plays Dre, an executive at a record label that has sold its soul for commercial success. Torn between making a good living and sticking to his principles (defined by his true love of unadulterated, old-school hip-hop), he finally walks out when his boss tells him "You wanna keep it real, you go to (another label). You wanna keep it profitable, that's what we do." (A running gag features the label's talentless new black-and-white novelty rap duo who call themselves "the dalmatians of hip-hop" and plan to remake "The Girl Is Mine" as "The Ho is Mine.")
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