Toy Story 4

★★★★★ - A Review by Cameron Kanachki

The Toy Story films are not only some of the best Pixar films ever made, but they are some of the greatest animated films of all time. Each of the films were incredibly groundbreaking in animation, spectacular scope, & packed with emotion.

When I heard that Toy Story 4 was coming out, I had mixed feelings: on one hand, I knew that it would be good, as Pixar has only made one bad film (Cars 2). But on the other hand, it felt unnecessary; Toy Story 3 was the perfect conclusion to the franchise, as everything was tied together, & it went out with an emotion-filled bang.

But my doubts were all for nothing, as Toy Story 4 is a terrific extension (& possible ending) to the franchise. The film continues the story of Woody (Tom Hanks), the leader of a group of toys once owned by Andy (John Morris & Jack McGraw), & now owned by Bonnie (Madeleine McGraw). Woody, along with Buzz Lightyear (Tim Allen), Jessie (Joan Cusack), Rex (Wallace Shawn), Hamm (John Ratzenberger), Slinky Dog (Blake Clark), Mr. Potato Head (Don Rickles), & Mrs. Potato Head (Estelle Harris), along with Dolly (Bonnie Hunt), Trixie (Kristen Schaal), Buttercup (Jeff Garlin), & Mr. Pricklepants (Timothy Dalton), are happy with their lives as Bonnie's toys. Bonnie is scared about entering kindergarten, so Woody sneaks into her backpack for orientation to keep an eye on her. When Bonnie gets upset, Woody sneakily brings art supplies that were thrown into the trash, along with a spork, to Bonnie. Bonnie uses the spork & the supplies to create a new toy she calls Forky (Tony Hale).

When Bonnie returns home, Woody finds that Forky has come to life in Bonnie's backpack. Woody introduces Forky to the toys, but Forky is convinced that he is trash & not a toy, & proceeds to continually throw himself into the trash. As Forky becomes Bonnie's favorite toy, Woody takes it upon himself to stop Forky from throwing himself into the trash.

Before the school year starts, Bonnie's mom (Lori Alan) & dad (Jay Hernandez) take Bonnie on a road trip. During the trip, Forky throws himself out the window & Woody jumps out to find him & bring him back. On their journey to the RV park where Bonnie & her parents are at, Woody helps Forky finally realize that he is a toy & not trash.

Before they arrive at the park, however, Woody is distracted by a lamp in a store: the lamp of Bo Peep (Annie Potts), a former toy friend of Woody's who was sold 9 years earlier, along with her sheep, Billy, Goat, & Gruff (Emily Davis). They enter the store, but are seen by Gabby Gabby (Christina Hendricks). Gabby Gabby offers to take them to Bo, but she has ulterior motives for it, & in the process, Forky is captured by Gabby Gabby while Woody escapes. Meanwhile, Buzz looks for Woody & Forky, & meets Ducky (Keegan-Michael Key) & Bunny (Jordan Peele), 2 carnival toys.

Woody finally finds Bo, who is now a lost toy. After some persuading, Bo agrees to help Woody find Forky & return to Bonnie, along with the help of pocket toy cop Giggle McDimples (Ally Maki), & Canadian toy stuntman Duke Caboom (Keanu Reeves). But the journey will trigger a yearning for a fresh start in Woody.

The cast is superb. Tom Hanks, Tim Allen & Annie Potts bring so much to their voice roles, & although we can't physically see them, we still empathize with their performances & their emotions. Keegan-Michael Key & Jordan Peele provide some of the funniest lines. And Keanu Reeves is awesome, as always.

Josh Cooley's direction is excellent. Cooley provides a warm-hearted atmosphere throughout, along with a great visual animated style.

The screenplay by Stephany Folsom, Andrew Stanton, John Lasseter, Rashida Jones, Will McCormack, Josh Cooley, Valerie LaPointe & Martin Hynes is amazing. The plot is intriguing, the characters are incredibly well-developed, & the dialogue is very humorous.

And the animation is wondrous. The animation here is some of the most realistic ever, & that's especially remarkable, as Pixar has always had an incredibly realistic style of animation. It's so incredibly detailed & colorfully illustrated, especially in one scene where the animation feels like life itself.

This is an incredible animated film, & definitely one of the best animated films of the decade. It may have seemed unnecessary, but unnecessary it is not. It is the logical conclusion for the franchise, & it is an emotional one for sure.

Toy Story 4 was seen by me at the MJR Marketplace Digital Cinema 20 in Sterling Heights, MI on Friday, June 21, 2019. It is in theaters everywhere. Its runtime is 100 minutes, & it is rated G.

The Last Black Man in San Francisco

★★★★★ - A Review by Cameron Kanachki

Detroit. Boston. San Francisco. Atlanta. Philadelphia. New York. Washington D.C. All of these cities, along with hundreds more in the United States, have been plagued by gentrification. Sure, gentrification may sound nice, with the promise of updating the decaying neighborhoods, but what else do you really get out of it besides that & middle-class white people moving in? You not only lose the predominantly marginalized communities that made it so great, but you lose the culture that made it home while it wasn't at its best.

The Last Black Man in San Francisco is an incredibly powerful look at gentrification, but it is mainly a powerful look at a friendship & how it endures outside change. The film follows Jimmie Fails (Jimmie Fails), a young African-American man in San Francisco. Jimmie works as a nurse at a nursing home, & currently lives with his best friend Montgomery "Mont" Allen (Jonathan Majors), an aspiring playwright, & Mont's grandfather (Danny Glover), who is blind & relies on Mont to explain to him the visuals of films & TV shows. Together, Jimmie & Mont encounter various people throughout the day, including Wanda (Tichina Arnold), Jimmie's aunt; Bobby (Mike Epps), an old friend of theirs; Clayton (Finn Wittrock), a sly real estate agent; & Becca (Thora Birch), a woman who has grown to hate the city. But what they truly cherish is the old Victorian house in the Fillmore District that Jimmie & his father James Sr. (Rob Morgan) once lived in before they were forced out of it in the 1990s, the house that Jimmie's grandfather built in 1946 as "the first black man in San Francisco." Jimmie helps take care of the outside while Mont keeps an eye out for the tenants, who are more or less apprehensive of Jimmie's care.

One day, Jimmie & Mont discover that the tenants are forced to move out due to the death of the owner, which has caused infighting between the tenants & one of their sisters. Jimmie sees this as an opportunity to finally get back his house, which has been priced at $4 million. Jimmie & Mont move in to squat in it, finally getting a sanctuary for themselves in a rapidly gentrifying San Francisco. But this is more than just a house or a sanctuary for Jimmie: it's the last tie he has to San Francisco. It's the last tie he has to his home & his land, as he considers himself to be "the last black man in San Francisco."

The cast is exemplary. Jimmie Fails not only gives the best debut performance of this year, but easily the best debut performance of this decade. The fact that this is a debut performance & that he is an unknown talent heightens the film's realism, allowing us to further relate to the performances, & his remorseful yet optimistic attitude is so perfectly portrayed.

Jonathan Majors gives the best supporting male performance of the year so far. Like Fails' performance, Majors' performance is also remorseful yet optimistic, but he is more theatrical in his persona, & it shows in one of the most powerful scenes of the film. His chemistry with Fails is also impeccable, as they truly feel like life-long friends, almost like brothers they never had.

Tichina Arnold has a small amount of screen time, but what she does with that screen time is wondrous. As Jimmie's aunt who has left San Francisco behind, she understands what Jimmie is going through, trying to keep his connection with the city he loves so dearly, but knows that San Francisco is tough, & it's not his fault if he leaves. Arnold portrays that mindset so perfectly, & she is so warm & engaging in her performance.

The rest of the cast, especially Danny Glover & Rob Morgan, give terrific supporting performances, filling in the rest of the colorful characters that populate the setting.

Joe Talbot's direction is stellar. Talbot, in his directorial debut, shows the empathy of John Cassavetes, the visual poetry of Barry Jenkins, & the sociopolitical eye of Spike Lee, which all come together to create a style that makes you surprised that it did not come from a seasoned veteran director. I definitely cannot wait for what Talbot does after this film.

The screenplay by Joe Talbot, Rob Richert & Jimmie Fails is wonderful. The plot is entirely fresh & original, never once feeling stale. The characters are incredibly well-written, feeling like random people you would encounter on the street. And the dialogue is so richly human, powerfully written, & incredibly poetic.

Adam Newport-Berra's cinematography is gorgeous. Newport-Berra's camerawork is so vibrant, glorious, & nothing short of visual poetry, as he lingers on the beauty of the faces of the characters & the places that populate the setting, & glides along through the town like a San Franciscan on a cable car.

David Marks' editing is terrific. Marks cuts the film with such immense style, but lets us linger in the moment, keeping us calm as we slowly engage ourselves with the characters. And that is what editing should do.

And Emile Mosseri's score is beautiful. The score is populated by trombones, trumpets, clarinets, flutes, saxophones, violins, & percussion, & all those combine for music that is lamentful for the past, yet hopeful for the future.

The Last Black Man in San Francisco is something that wholeheartedly deserves to be acclaimed, & it certainly has been acclaimed. It is something so wholly original, so powerfully emotional, & so visually poetic, that it is nothing short of a true masterpiece. It is something that everyone should go & see if it is showing by you.

The Last Black Man in San Francisco was seen by me at the Landmark Main Art Theatre in Royal Oak, MI on Thursday, June 20, 2019. It is currently in 4 theaters in the Detroit area: the Landmark Main Art Theatre in Royal Oak, MI; the Birmingham 8 in Birmingham, MI; the Cinema Detroit in Detroit, MI; & the State Theatre in Ann Arbor, MI. Its runtime is 121 minutes, & it is rated R for language, brief nudity & drug use.

The Dead Don't Die

★★★½ - A Review by Cameron Kanachki

I'm not interested in zombies. I've just found them to be boring. When I have liked zombies, it's been in a more comedic fashion. The only zombie films I've liked were 28 Days Later, which is one of the best horror films ever made, 28 Weeks Later, Dead Alive, Zombieland, & Shaun of the Dead. Other than that, I'm not a fan.

The Dead Don't Die is a bit aimless & didactic at times, but it's a solid zom-com. The film follows Cliff Robertson (Bill Murray), the police chief of Centerville, Pennsylvania. Cliff & Officer Ronnie Peterson (Adam Driver) have just investigated a complaint by cartoonishly racist farmer Frank Miller (Steve Buscemi) that Hermit Bob (Tom Waits) stole a chicken from him. On their way back, they notice that it is still light out at 8pm, & Ronnie's watch & cellphone die. They go to a diner where they meet with Hank Thompson (Danny Glover), the owner of the local hardware store, who hears of a radio report about polar fracking. Waitress Fern (Eszter Balint) also remarks about it still being light out. After this, Cliff & Ronnie return to the police station, where Officer Mindy Morrison (Chlöe Sevigny) is at. Cliff stays at the station with the corpse of town drunk Mallory O'Brien (Carol Kane).

Elsewhere in town, at the Centerville Juvenile Detention Center, Geronimo (Jahi Winston) tells fellow inmates Olivia (Taliyah Whitaker) & Stella (Maya Delmont) that the polar fracking has changed the Earth's rotation. Dean (RZA), a deliveryman for WU-PS, delivers rare magazines to Bobby Wiggins (Caleb Landry Jones), the owner of the gas station & memorabilia store. Hank, Fern, & cleaner Lily (Rosal Colon) talk about Mallory. Cleveland hipsters Zoe (Selena Gomez), Jack (Austin Butler) & Zach (Luka Sabbat) travel to Centerville, enter Bobby's gas station, purchase a CD of Sturgill Simpson's The Dead Don't Die, & check in at Danny's Moonlight Motel, owned by Danny Perkins (Larry Fessenden). News reporter Posie Juarez (Rosie Perez) reports about pets behaving strangely. New undertaker Zelda Winston (Tilda Swinton) practices her samurai skills.

As night falls on Centerville, two coffee-obsessed zombies (Sara Driver & Iggy Pop) reanimate, go to the diner, & kill Fern & Lily. Hank finds them the next morning, & calls Cliff, Ronnie, & Mindy. Ronnie believes that zombies did it, & also remarks that this won't end well. It is now up to Cliff, Ronnie, Mindy, & Zelda to stop the zombie apocalypse.

The cast is terrific. Bill Murray is super deadpan & hilarious. Adam Driver is also super deadpan & hilarious. Tilda Swinton is glorious as usual. And the rest of the cast is superb.

Jim Jarmusch's direction is great. While the film somewhat loses sight in the third act, it is overcome by his exemplary minimalist shot style & his affinity for deadpan visual comedy.

And Jim Jarmusch's screenplay is very good. While the themes become didactic in the third act, & the plot is a bit too aimless, but his characters are lovingly idiosyncratic, & the deadpan dialogue is often hilarious.

This is a solid deadpan look at the current state of affairs in the world. Although it is a polarizing film for sure, & definitely not a perfect one, it has enough in it to keep it away from becoming a dead end.

The Dead Don't Die was seen by me at the MJR Troy Grand Digital Cinema 16 in Troy, MI on Saturday, June 15, 2019. It is in theaters everywhere. Its runtime is 104 minutes, & it is rated R for zombie violence/gore, & for language.

Late Night

★★★½ - A Review by Cameron Kanachki

At the age of 17, I'm probably the youngest person in America that watches late-night talk shows. Here's how I feel about them: the only ones I like are Stephen Colbert (although he was better on Comedy Central as his alter ego) & Seth Meyers. Jimmy Fallon is ok, but I wish he would actually let his guests talk for more than 30 seconds without being interrupted by one of his annoying forced laughs. Jimmy Kimmel is not that funny, & James Corden is not only unfunny, but also has no likable persona.

Late Night, while rocky at points, is a solid look at the late-night talk show industry. The film follows Katherine Newbury (Emma Thompson), the host of Tonight with Katherine Newbury, the longest-running late-night talk show hosted by a woman. Katherine is married to Walter (John Lithgow), a former NYU professor with Parkinson's disease. Once a ratings hit, the show has now furiously dropped in ratings, as Katherine has refused to modernize, both in front of & behind the camera; Katherine refuses to engage in the antics that have made other late-night talk show hosts popular, & she has also come to be criticized for the lack of diversity on her writing staff, which is all-male, including Charlie Fain (Hugh Dancy); Tom Campbell (Reid Scott); Burditt (Max Casella); Reynolds (John Early); & Mancuso (Paul Walter Hauser). In order to fix this, Katherine sends her assistant Brad (Denis O'Hare) to find a woman to put on the staff, which he finds in Molly Patel (Mindy Kaling), an efficiency expert at a chemical plant in Pennsylvania who is a fan of the show & a budding comedienne.

One day, Katherine is informed by network head Caroline Morton (Amy Ryan) that this season will be her last, & that she will be replaced by Daniel Tennant (Ike Barinholtz), a younger, cruder comedian. In order to keep her job, Katherine demands that the writing staff makes her funny & relevant again. Molly finds this to be her chance to make her mark on the staff & prove that she isn't just a diversity hire. She does this by having Katherine completely change her persona by becoming more open about her thoughts & feelings. This could either end up going really well or really awful, but this might end up working.

The cast is terrific. Emma Thompson gives one of the best performances of her illustrious career. Mindy Kaling is also superb & charming. The rest of the cast gives great performances, but it's the chemistry between Thompson & Kaling that truly shines.

Nisha Ganatra's direction is great. Ganatra has some trouble with pacing, but she makes sure that the actors give their best performances & that the atmosphere stays warm throughout.

And Mindy Kaling's screenplay is very good. The plot does get too formulaic at times, & the characters outside of Thompson & Kaling's characters could use more development, but the dialogue is sharply written.

This is a solid dramedy. Although there are some moments that could've been better handled with a better writer & a better director, it's a nice little film.

Late Night was seen by me at the MJR Marketplace Digital Cinema 20 in Sterling Heights, MI on Friday, June 14, 2019. It is in theaters everywhere. Its runtime is 102 minutes, & it is rated R for language throughout & some sexual references.

The Souvenir

★★★★★ - A Review by Cameron Kanachki

How do we look at moments in our past that were not good? Do we look at them for what they truly are? Or do we think of them differently, tell ourselves that they were good moments, in order to spare ourselves from the pain & anguish we've kept hidden away for years? I don't know how exactly I've looked back at mine.

The Souvenir is an incredibly well-made look at one of those moments. Set in 1980s London, the film follows Julie (Honor Swinton Byrne), a young film student. Julie wants to write & direct films about stories that take place outside of her privileged, upper-class life, like in the docks in the north of England. Her mother Rosalind (Tilda Swinton) is concerned about Julie, but Julie brushes off her concerns.

At a party, Julie meets Anthony (Tom Burke), an older man who works for the Foreign Office. Anthony is much like Julie, as he is also very privileged & upper-class, & is the epitome of an Oxbridge man. He introduces her to new ideas, films, artworks, & many other things, eventually becoming a major part of her life, eventually moving in with her, as the romance blooms like a lovely flower.

But there are things that start to show with Anthony, things that are not so attractive. He is definitely cold & brash towards Julie. But then these things get worse & worse, & more undesirable traits arise, making Julie wonder about the state of her life & the state of her relationship with Anthony, which is nothing short of toxic.

The cast is terrific. Honor Swinton Byrne gives the most captivating breakout performance I've seen in years. She embraces Julie's vulnerability, self-doubt, ambition, & devotion at every moment, & it is the best dramatic performance of the year so far. Tom Burke is superb, & gives the most realistic portrayal of a toxic person in a toxic relationship that I've ever seen. And Tilda Swinton shows & says so much with little screen time.

Joanna Hogg's direction is phenomenal. As this is based on her experiences in the early 1980s, this is a very personal work for Hogg. And it shows, as she helms the film with such intimate care & framing.

Joanna Hogg's screenplay is incredible. The plot perfectly weaves back & forth like a series of fragmented memories, the characters are so impeccably well-developed, & the dialogue is so wonderfully realistic.

And David Raedeker's cinematography is gorgeous. The camerawork consists of several static long-takes, spectacularly framing the quietly tense matters at hand.

The Souvenir is one of the best films of the year, & quite possibly of this decade. It's a heart-wrenching look at a toxic relationship & how we look back on them, whether it be for what they were or what we think they were, which are almost always 2 completely different things.

The Souvenir was seen by me at the Landmark Main Art Theatre in Royal Oak, MI on Sunday, June 9, 2019. It is currently in 1 theater in the Detroit area: the State Theatre in Ann Arbor, MI. Its runtime is 120 minutes, & it is rated R for some sexuality, graphic nudity, drug material & language.

Dark Phoenix

½★ - A Review by Cameron Kanachki

As the Fox X-Men Universe comes to a close as they have been purchased by the Mighty Mouse, we must look back on how it has been. The first two films were very good to great, then a major bump in the road with the next two films, then it regained its footing a bit once the prequels came in, & hit its peak with Deadpool, Logan & Deadpool 2, but has also shown some signs of regression with Apocalypse.

Dark Phoenix is a brutal end to the Fox X-Men Universe. A brutal, drawn-out, meaningless, tedious end to the Fox X-Men Universe. Set in 1992, the film follows the X-Men: Charles Xavier/Professor X (James McAvoy); Raven Darkhölme/Mystique (Jennifer Lawrence); Hank McCoy/Beast (Nicholas Hoult); Jean Grey (Sophie Turner); Ororo Munroe/Storm (Alexandra Shipp); Scott Summers/Cyclops (Tye Sheridan); Kurt Wagner/Nightcrawler (Kodi Smit-McPhee); & Peter Maximoff/Quicksilver (Evan Peters). When Space Shuttle Endeavour is hit by a solar flare, the X-Men go to save the astronauts; however, in the process, Jean is struck by the energy from the flare & absorbs it, enhancing her psychic powers.

At first, Jean feels fine, & there is nothing that would show otherwise. However, it soon shows that the solar flare definitely affected her, as she suddenly starts attacking when pressured, & some more maniacal things arise to the surface. She eventually flies away from the X-Men, & is met by Vuk (Jessica Chastain), a member of the D'Bari, a shape-shifting alien race obsessed with the power she received from the solar flare, which wasn't a solar flare. She also meets up with Erik Lehnsherr/Magneto (Michael Fassbender), who has gone to a mutant island, to seek help. But her enhanced powers threaten to tear the X-Men apart.

The cast is mediocre. James McAvoy, Michael Fassbender & Jennifer Lawrence all do serviceable jobs, but they completely feel bored throughout the film. Sophie Turner is substandard. Jessica Chastain is incredibly wasted. And Alexandra Shipp is absolutely awful, as her accent is nothing short of horrendous.

Simon Kinberg's direction is terrible. In his directorial debut, Kinberg shows that he as incompetent at directing as he is at writing, with no ability to liven things up at all, no sense of visual style, & no sense of getting good performances out of his actors.

Simon Kinberg's screenplay is horrific. For a film that has been made once before to middling results, it wouldn't seem that hard to do better the second time around. However, this is not the case. The storyline feels incredibly rushed, the characters are not well-written, & the dialogue is some of the worst in recent memory.

And the visual effects are dreadful. For a superhero film with a budget of $200 million, you would expect that the CGI would be well done. You would be wrong. No amount of money nor reshoots would be able to fix the rushed & inconsistent CGI.

There's been many terrible superhero films before Dark Phoenix (most of which I haven't seen yet), & there will probably be more after Dark Phoenix. But I know for sure that as of right now, Dark Phoenix is the worst superhero film I've ever seen. This is the way a franchise ends: not with a bang, but with a sad, monotonous whimper.

Dark Phoenix was seen by me at the MJR Partridge Creek Digital Cinema 14 in Clinton Township, MI on Thursday, June 6, 2019. It is in theaters everywhere. Its runtime is 113 minutes, & it is rated PG-13 for intense sequences of sci-fi violence & action including some gunplay, disturbing images, & brief strong language.

Rocketman

★★★½ - A Review by Cameron Kanachki

Elton John is one of the greatest artists of all time. He's had 7 consecutive #1 albums in the US, 58 top 40 singles, 27 top 10 singles, 4 #2 singles & 9 #1 singles, including the best-selling single of all time, Candle in the Wind 1997. He has left an indelible impression on music.

While Rocketman doesn't completely reach the heights of Elton John's career, it's a solid biopic. The film follows Reginald Dwight (Taron Egerton as an adult, Kit Connor & Matthew Illesley as a child), a young boy in Pinner, Middlesex, England. Raised by his mother Sheila (Bryce Dallas Howard) & grandmother Ivy (Gemma Jones) while his father Stanley (Steven Mackintosh) is absent due to his service in the Royal Air Force, Reginald shows that he has the musical talent of an absolute wunderkind. He eventually starts studying at the Royal Academy of Music in London. He then becomes influenced by rock artists, & joins a band called Bluesology.

Bluesology ends up backing up for an American jazz band, where Reginald realizes that he must change his name, form a new persona, & write some songs if he wants to be famous. He then changes his name to Elton John. Elton finds success under Dick James' publishing company & Ray Williams' management, & meets Bernie Taupin (Jamie Bell), an aspiring songwriter. They quickly form a friendship, with Elton's musical talent & Bernie's songwriting talent quickly merging together. Also, Elton starts to realize that he is gay, which Bernie accepts.

When Elton & Bernie create Your Song, they earn a performance at the Troubadour in Los Angeles, where they are met with absolute acclaim. At an afterparty at Mama Cass' house, Elton meets John Reid (Richard Madden), a music manager who also has romantic feelings toward Elton. But Reid has a toxic influence over Elton, & this will lead to a severe downward spiral for Elton.

The cast is terrific. Taron Egerton doesn't portray Elton John; he IS Elton John. His performance never once feels like an imitation (unlike Rami Malek as Freddie Mercury in Bohemian Rhapsody), & it has all the charm & talent we've all come to expect from Elton John. Jamie Bell is also superb as Bernie Taupin, & the chemistry between him & Egerton feels like a genuine life-long friendship. And the rest of the cast, especially Madden & Howard, provide great supporting performances.

Dexter Fletcher's direction is great. Although there are some moments where some standard biopic cliches come in, Fletcher overcomes this with so much ambition & visual style.

Lee Hall's screenplay is very good. Although the storyline does have too many of the standard biopic cliches, & some of the characters aren't well-developed, the dialogue is extremely well-written, & it isn't afraid to embrace its protagonist's sexual orientation (unlike Bohemian Rhapsody).

Julian Day's costume design is spectacular. The costumes are period-accurate, well-designed, & just like Elton John himself, wonderfully extravagant.

And the soundtrack is wonderful. So many of Elton John's brightest & best songs are on full display here, & they definitely drive the film forward.

Rocketman isn't perfect. It is somewhat afflicted by certain aspects that affect many biopics today, mainly music biopics. But it has ambition & competent filmmaking, something that many of them (like Bohemian Rhapsody) don't have. And that's a welcome surprise.

Rocketman was seen by me at the MJR Marketplace Digital Cinema 20 in Sterling Heights, MI on Sunday, June 2, 2019. It is in theaters everywhere. Its runtime is 121 minutes, & it is rated R for language throughout, some drug use & sexual content.