Finding Good Car Insurance Can Be a Task

No matter how much professional you think you are, you would agree to this fact that buying auto insurance is a daunting task. There might be plenty of questions running in your mind and you would be looking for satisfactory answers to them. If the entire process seems confusing and overwhelming then you might need help of the auto insurance specialists. If you need help finding Car Insurance in San Antonio click here

Assistance provided by auto insurance specialists

The insurance specialist can save your time as well as money. You will get the most wholesome insurance that will protect you from most of the damages. Often people have to face problems in getting insurance because they have several traffic tickets and their previous driving history is not good. The insurance company can charge you high because of a bad history.

There are times when insurance companies because of such issues refuse to offer you any kind of coverage. They are only interested in serving such people whom they think cannot offer them much risk. Here the role of the auto insurance specialists will come into play. They will listen to your needs and then will find a good and affordable insurance deal for you on the basis of your requirements.

There can be other instances where you might need help of the specialist. If you have an unusual vehicle like a classic car or a luxury car then it will require special coverage. The insurance company might not entertain you if you will do directly. The specialist can help you here. He will get information of the coverage for the type of vehicle you own and then serve you accordingly. The insurance specialist might also enable you to save money on the insurance policy.

Finding the best auto insurance specialists

Now finding the right insurance specialist will also be necessary. Here are some of the questions that you might ask the specialist in order to confirm whether he is worth the trust or not:

How long he has been in business? The more experienced he will be the best insurance policy in San Antonio he will offer you.
Ask him about your coverage. You might not be able to understand each and every term of policy so it is better that you ask your specialist to make you understand what is going to be covered by the policy and what is not.
Ask him about your deductible. Before this, make sure that you know what it means. You must be well informed about it. Don’t hesitate to ask questions. You must know either you have to choose on making a claim for damage or covering the cost of repair. You will not know anything about the deductible unless you ask. So be sure that everything has been made clear. It might prove to be useful for you to a significant deal.
Ask about the policy, which will be best for you. As you are paying the money, so make sure that you make the most out of it. Get options from the agency
Getting help from the auto insurance specialists will be a beneficial for you in the end so don’t be shy, just hire one whenever you need.

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Opening in Orlando: Halloween, The Old Man & the Gun and more

Halloween When even the Suspiria remake is afraid to open until two days after Halloween, you know there’s an 800-pound gorilla in the room – and that’s the movie with “Halloween” right there in the title. It’s also the first sequel to the 1978 classic that anyone has significant hopes for. (Speaking of which, did I ever tell you about the time I saw Halloween 4 at a mall in Gainesville, in the company of a vanload of day-trippers from a home for the intellectually challenged? Boy, talk about your unintentional synergy.) This Halloween is a direct follow-up to the original, pretending that the ensuing nine films never happened. Back to star is Jamie Lee Curtis, who would also like you to forget those films ever happened (especially as she appeared in four of them). And not only did franchise creator John Carpenter give his blessing to the project as executive producer and creative consultant, he also composed the score. That all adds up with to a hell of a pedigree, but couldn’t they have worked in a Donald Pleasence hologram somewhere? (R)

The Old Man & the Gun As a friend of mine once opined of Anthony Hopkins, he said he was going to quit acting, but the wiggle room was that he didn’t say he was going to stop appearing in movies. It remains to be seen if Robert Redford seeks a similar escape clause after The Old Man & the Gun, his ballyhooed final film. In it, Redford re-enacts the true-life story of Forrest Tucker, a prison escapee who at the age of 70 went on a spree of armed robberies. See, the catch was that he told the parole board he was going straight, when he meant “straight to the nearest bank.” (PG-13)

Also playing:

Gosnell: The Trial of America’s Biggest Serial Killer A defamation lawsuit filed by a judge portrayed in the film didn’t stop the distribution of this fire-and-brimstone denunciation of Dr. Kermit Gosnell, who is serving a life sentence for murders committed in the course of botched abortion procedures, and is now apparently the poster child of the far right for repealing Roe v. Wade for no particularly good reason. Likewise, there’s no real justification for the film’s producers to claim victimization just because their crowdfunding campaign was found to violate Kickstarter’s community guidelines – especially as their subsequent efforts on Indiegogo netted more contributions than any film in the history of the site. But that’s how the Kavanaughs of this world roll: Even when they win, they need to pretend they lost. Sad! (PG-13)

Kinky A black version of Fifty Shades of Grey. And how is that even possible? What’s next – a black version of Kanye? (R)

Summer ’03 Joey King plays a 16-year-old girl struggling with youthful romance. The poster shows her seductively licking an ice cream cone. Looks like the marketing department is struggling with something too. (NR; playing at Regal Waterford Lakes Stadium 20 & IMAX)

Socially relevant ‘Colette’ sumptuous but formulaic

Duality dominated the life of famed French writer Colette. Born a 19th-century country girl with old-world mores, she became the libertine – and liberated – toast of 20th-century Paris. And initially content to stay in her husband’s shadow as she ghost-wrote his novels, she eventually divorced him, claimed authorship for herself and received a Nobel Prize nomination for a body of work that included Gigi and the four Claudine books.

Colette, the new biographical drama from British-American director Wash Westmoreland (Still Alice), shares that duality, as it showcases a cultural and sexual whirlwind in a surprisingly straightforward fashion. It is, therefore, stuck in two universes: one of subject and one of form. That dichotomy is interesting to observe, though the movie is not as successful as its namesake at juggling its two worlds. Colette the woman was groundbreaking and talented, but Colette the movie, while gorgeous, isn’t particularly original or poetic. While Keira Knightley, in the title role, again proves why she’s one of the greatest actors of her generation, she lacks chemistry with Dominic West (Willy, her husband), and their quarreling grows tiresome. Admittedly, it’s fascinating to see the modern world come into its own, with the newly invented lightbulbs providing a nice metaphor for a cultural and sexual illumination. But the film never shines with the same intensity as the new incandescence. It’s gaslight in electric ladyland.

“The hand that holds the pen writes history,” Colette and her husband agreed when she started secretly writing his books. But when the dust settled on their marriage, it was Colette clutching the quill, reducing her husband to the dust bin of history. Yet the screenplay – by Westmoreland, Ricard Glatzer and Rebecca Lenkiewicz – never paints Willy as a villain intent on subjugating his wife, and that’s a mature decision. Rather, he’s just a man: complicated, flawed, proud and ultimately unable to manage his jealousy and financial affairs. Still, when he’s described late in the film as broken, one is left wondering exactly where and when he broke, because the choppy script never fully depicts that break.

Instead, the film is more concerned with presenting chronological glimpses of Colette’s psychological and cultural transformation. “Look at that,” it’s saying. “Here, let me show you this,” and “Ah, isn’t this socially relevant to today’s gender-equality and transgender-rights battles?” The answer to that question is yes, but the lesson lacks both the profundity and subtlety of a more accomplished writer and director.

Colette is the second major release this year to focus on a woman who ghost-wrote her husband’s books. The other – spoiler alert! – is The Wife, starring Glenn Close and Jonathan Pryce. But in that film, we must wait to find out the true author, and therein lies the suspense. Because Colette plays its narrative cards face up, the suspense lies not in the audience reveal but in the reveal to the French public. But that reveal is reduced to explanatory text in the end credits, robbing us of what must have been not just a revelation to the literary world but a moment of catharsis for Colette. Still, it’s engrossing to watch Knightley guard that secret while simultaneously exploring her intellectuality and sexuality with her sultry American lover (Eleanor Tomlinson), her “lady-man friend” (Denise Gough) and the famous singer-actress-tightlacer Polaire (Aiysha Hart).

Colette succeeds, despite its flaws, because of Knightley’s powerhouse performance, Michael Carlin’s sumptuous production design and Giles Nuttgen’s sensual cinematography. (The latter births arguably the most erotic cinematic experience of 2018.) Without those three factors, Colette would have sunk into mediocrity, unworthy of its unique subject. As it stands, it’s a worthwhile flirtation with an alluring and influential historical period.

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