Maestro

 

★★★★★

Ambitious is the first word that comes to mind when describing Maestro. For only his second feature film, Bradley Cooper has taken on a larger-than-life figure in composer Leonard Bernstein, & made something as grandiose as the man himself. But does it succeed in capturing him?

The film follows Bernstein (Bradley Cooper), a young assistant conductor with the New York Philharmonic in the early 1940s. One morning, he is awoken to hear that the regular conductor has become sick & that he must take the stage. He does so to rousing success.

Flash-forward a few years, & Leonard finds himself at a party playing piano. It is there he locks eyes with young Felicia Montealegre Cohn (Carey Mulligan), an aspiring actress. Flash-forward a few more, & the two are married, with three children: Jamie (Maya Hawke), Alexander (Sam Nivola), & Nina (Alexa Swinton).

All during this time, Leonard has made a huge name for himself. He has conducted major works such as On the Town, Candide, & West Side Story, succeeding both on the Broadway stage & the Philharmonic Orchestra. Felicia succeeds during this time as well, booking roles on both Broadway & on the small screen.

But as his sister Shirley (Sarah Silverman) says to Felicia, "There's a price for being in my brother's orbit." Leonard has multiple affairs, many of them with other men like musician David Oppenheim (Matt Bomer). Can the marriage between Leonard & Felicia survive? Or will it crumble under pressure from infidelity & ego?

Bradley Cooper is not just portraying Leonard Bernstein; he becomes him. There is a ferocity in his performance that is nearly unparalleled in recent memory. From the biggest emotions to the most minute details, & all the many flaws of the man in between, Cooper transforms into the performance.

Carey Mulligan is phenomenal. It is just as much her film as it is Cooper's (she even receives top billing over Cooper in the film's credits). She is no simple wife who suffers under her husband's ego. She is fully-fledged & ferocious. Her chemistry with Cooper is sublime.

Cooper's ambitious direction is filled to the brim with style & substance. It's both bombastic & intimate; the rapturous performances of Bernstein's conducting contrast perfectly with the Cassavetian depiction of married life & all the love & anger there within. And there is a real emotional core here, with Cooper letting the story drive the emotion instead of going the easy way of tactless emotional manipulation.

The screenplay by Cooper & Josh Singer manages to stuff so much into the film's two-hour-plus runtime while giving ample time to breathe. The storyline's focus on character over plot is perfect for such an imposing figure, while also making all those standard biopic cliches feel fresh again.

Matthew Libatique's gorgeous cinematography shifts between color & black-&-white, between Academy ratio & classic widescreen. The use of color is especially gorgeous, with the entire palette being used, but the use of reds & browns sticking out most.

Michelle Tesoro's editing is a masterclass in transitions. The use of match cuts is just spectacular.

The sound design impeccably depicts the beautiful music on display. One scene in particular that uses Mahler's Resurrection Symphony is something to behold.

And the makeup & hairstyling is nothing short of transformational. Not only does it make the actors unrecognizable from how we see them, but even the subtlest of changes help establish the characters.

The emotion, the ambition, & the talent on display make this one of the best films of the year. It's so rare that a biopic like this comes along & truly captures its subject, warts & all, with such aplomb & care at the same time.

Maestro is in theaters now & on Netflix December 20. Its runtime is 129 minutes, & it is rated R for some language & drug use.

Dream Scenario

 

★★★

Fame is fleeting, as they say. But when the fame is in season, what can you control with your own fame? Or do you have any control, for that matter? All of these are questions with potentially unknowable answers.

Dream Scenario tries to answer these questions, & does so with intermittent success. The film follows Paul Matthews (Nicolas Cage), a mild-mannered college professor. Loved by his wife Janet (Julianne Nicholson) & two daughters, Sophie (Lily Bird) & Hannah (Jessica Clement) at home, but passed aside by colleagues & acquaintances like Richard (Dylan Baker) for dinner parties & such, Paul never manages to stick out.

That is, until one night, after Paul & Janet leave a play, where Paul is told by an old flame that he has appeared in her dreams. Then Richard calls & tells him that he has appeared in the dreams of a colleague who has never met him. Then more & more people start recognizing him in their dreams, from his students to others who have never interacted with him in real life. The dreams vary, but there is one constant: Paul is in them doing absolutely nothing.

With this, Paul becomes an overnight sensation. Suddenly, everyone wants to be around him, including marketing firms like one led by Trent (Michael Cera), who wants to get Paul with the Obamas & on cans of Sprite. Paul is skeptical of the fame at first, but eventually lets it get the better of him. But as the dreams start to take an active turn for the worse, Paul tries to figure out just how much, if any, of his fame is in his hands.

The cast is great. Nicolas Cage, as always, is tuned in. Cage is always a standout, no matter what the quality of the film, but when he's got something good going, it's a sight to see. The supporting cast, especially Julianne Nicholson & Michael Cera do some great work, but it's Cage's show through & through.

Kristoffer Borgli's direction is very good. Borgli sometimes bites off more than he can chew by handling all the themes, but he manages to have a original vision throughout.

His screenplay is solid, but not as strong as his direction. By the third act, the film takes a turn into the idea of cancel culture, & as a result, some of the satire falls flat. However, the characters are, for the most part, fully realized, & the dialogue is often very funny.

And his editing is terrific. Borgli uses a number of jump cuts to excellent effect, & his use of elliptical editing to drive the story forward is a fresh style in a world of stale editing that just exists.

While some of the themes, like that of cancel culture, don't quite hit, others about the sudden onset of fame, ultimately do. Dream Scenario owes a lot to the films of Spike Jonze & Charlie Kaufman, especially Being John Malkovich & Adaptation (also starring Nicolas Cage). But although the film is ultimately recommended, I wanted the real thing much more.

Dream Scenario is in theaters now. Its runtime is 102 minutes, & it is rated R for language, violence, & some sexual content.

May December

 

★★★★★

There is always the story of a perfect American family that has something sinister & dark beneath the surface. Keeping up the appearance of a perfect family is a struggle for those with shady pasts, & the question is: how long before the veil is tossed & everything is shown for what it is? And who, or what, will be the undoing?

May December is ultimately a story of appearances, both what we keep up in order to stave off the past, & what we use to become other people. Set in 2015, the film follows Elizabeth Berry (Natalie Portman), a noted television actress. Elizabeth, who considers herself a method actress, has chosen a particularly meaty role for her next film, a true crime drama where she portrays Gracie Atherton-Yoo (Julianne Moore), a former pet shop clerk, who in 1992, was arrested at the age of 36 for having a sexual relationship with 13-year-old Joe Yoo (Charles Melton), a classmate of her son Georgie (Cory Michael Smith). Gracie ultimately served time in prison for her crime, but after her sentence, has married Joe & settled down with him on bucolic Tybee Island in Georgia, with three kids in tow: Honor (Piper Curda), conceived during the initial relationship; & twins Charlie (Gabriel Chung) & Mary (Elizabeth Yu), who are about to graduate high school. Since her release, Gracie & Joe have ultimately made an idyllic life for themselves & their children, or as idyllic as one can be when boxes of fecal matter are intermittently sent to their house.

So off to Tybee Island goes Elizabeth to meet the Atherton-Yoo family & shadow them for her role. Gracie & Joe are moderately excited to have her come along, while the children range from being starstruck to questioning the idea of Elizabeth's decision to shadow in the first place. 

Elizabeth toils through the tabloids & the people surrounding the case to get towards the truth needed for her best performance. But her arrival threatens to tear apart the life that Gracie & Joe have made, as pressure causes long-held feelings to arise.

The performances are exemplary. Natalie Portman gives a performance rivaling her Oscar-winning turn in Black Swan. Julianne Moore, as always, is phenomenal, as a woman in denial. But it's Charles Melton who ultimately runs away with the film. Melton perfectly portrays a heavy role with a sense of arrested development, never growing from the moment he was first abused, & coming to terms with the horror of it all.

Todd Haynes' direction walks a fine tightrope. It's hard to make a film about such a sensitive topic funny in some parts. And yet, when it calls for humor, it works. Haynes has always been a man obsessed with camp & melodrama, evidenced especially in his 2002 ode to Douglas Sirk, Far From Heaven. And here, it's also especially evident, evoking the filmography of not only Douglas Sirk, but also that of his contemporary, Pedro Almodóvar. But Haynes also infuses the film with an overwhelmingly uncomfortable aura of dread, as the audience slowly reads past the tabloid-infused narratives & looks deeper into the human cost.

Samy Burch's brilliant screenplay is at once both a deeply affecting look at the haunting aftereffects of grooming & a darkly funny satire of method acting & how pointless it is. Burch, in her first published screenplay, further adds to the melodramatic camp atmosphere that Haynes has set up with a quasi-soap opera approach containing witty dialogue, yet never fails to move past how damaging the abuse is. The film is obviously inspired by the case of Mary Kay Letourneau, who abused her student Vili Fualaau & then married him, & it critiques many of the sick tabloid narratives that came about in that case.

This film about appearances & how they can be deceiving is one of the best of the year. It's a testament to Todd Haynes' ability as an auteur, Samy Burch's ability to tackle such a thorny subject in her first screenplay, & the cast's ability to take on such complex roles in such a multifaceted manner that this all works.

May December is now showing on Netflix. Its runtime is 117 minutes, & it is rated R for some sexual content, graphic nudity, drug use, & language.

Once Upon a Time in Hollywood

★★★★★ - A Review by Cameron Kanachki

Love him, hate him, or have mixed feelings about him, you can't deny that Quentin Tarantino has made an indelible impact on modern American cinema. From his blistering debut, 1992's Reservoir Dogs; his breakout hit, 1994's Pulp Fiction; & my personal favorite work of his, 1997's Jackie Brown, to his revenge double feature, 2003's Kill Bill: Vol. 1 & 2004's Kill Bill: Vol. 2 (yes, they are two films, & if they are truly one film, then Quentin Tarantino owes me $8. But I digress...); his half of a grindhouse double feature, 2007's Death Proof; his WW2 revisionist thriller, 2009's Inglourious Basterds; his slavery Spaghetti Western (or "Southern"), 2012's Django Unchained; & his 70mm roadshow, 2015's The Hateful Eight, Tarantino has enraptured many with his colorful dialogue, nonlinear storylines, & wondrous originality, but he also alienated many with his cartoonish violence, extensive use of the N-word, & his unapologetic foot fetish. Nevertheless, I consider Tarantino to be one of my favorite filmmakers. However, as a person, he just really irritates me.

Once Upon a Time in Hollywood is, by far, Tarantino's best film this decade. Set in 1969 Los Angeles, the film follows Rick Dalton (Leonardo DiCaprio), an aging actor in Hollywood. Once the star of the Western TV series Bounty Law, Dalton's career has faltered due to a floundering film career, & has now been reserved for playing the bad guy of the week on TV shows. As a result, he mostly spends his time with his best friend & stunt double Cliff Booth (Brad Pitt), a war veteran who drives Dalton around Los Angeles, & has also suffered from lack of work, due to rumors about him & his wife.

After a meeting with agent Marvin Schwarzs (Al Pacino), Dalton comes to the conclusion that he is a has-been, as his roles as the bad guy of the week are dragging his star power down, & the only work he can find as a lead is in Spaghetti Westerns in Italy, which Dalton detests due to their low quality. However, Rick finds some hope in the fact that actress Sharon Tate (Margot Robbie) & her husband, director Roman Polanski (Rafał Zawierucha), have moved in next door to his house on Cielo Drive, as befriending them could be the rebound he needs for his career. That night, Tate & Polanski attend a party at the Playboy Mansion, where Steve McQueen (Damian Lewis) tells a story about how Tate left hairdresser Jay Sebring (Emile Hirsch) for Polanski, but Sebring is, more or less, a third wheel that Tate will go to if the relationship between her & Polanski sours.

The next day, Dalton goes to work on the set of Lancer, the new Western TV series starring James Stacy (Timothy Olyphant) & Wayne Maunder (Luke Perry). The pilot episode Dalton is appearing in is being directed by American expatriate Sam Wanamaker (Nicholas Hammond). Booth tries to see if he can work on set, but Dalton tells him he can't, since Randy (Kurt Russell), a stuntman, is on the set as well, & he deeply despises Booth, not only for the rumors which his wife Janet (Zoë Bell) believes, but also due to Booth's destructive fight with Bruce Lee (Mike Moh) on the set of The Green Hornet. On set, Dalton strikes up a conversation with Trudi Fraser (Julia Butters), a young method actress.

After fixing Dalton's TV antenna, Booth drives around. He eventually picks up a hitchhiker named Pussycat (Margaret Qualley), & drives her to Spahn's Movie Ranch, a ranch used for filming Westerns some years prior. He does this since he knew the owner, George Spahn (Bruce Dern), who has let Pussycat & some other people live on his ranch, including Charles Manson (Damon Herriman), Charles "Tex" Watson (Austin Butler), Lynette "Squeaky" Fromme (Dakota Fanning), & Gypsy (Lena Dunham).

Meanwhile, as Dalton works on Lancer, & Booth runs into the Manson Family, Tate goes to see herself in the film The Wrecking Crew. All of these storylines will eventually coalesce on one night in August.

The cast is terrific. Leonardo DiCaprio gives one of his three best performances. He is commanding, sincere, & hilarious all at once. Brad Pitt is at his most humorous in years, further showing that he is as terrific in comedic roles as he is on dramatic roles. Margot Robbie is absolutely phenomenal as Sharon Tate, bringing her back to life & embodying everything we loved about her.

From the supporting cast, Margaret Qualley, Mike Moh & Julia Butters are the standouts. Qualley gives a very mystical touch to her performance, covering her character in mystery. Mike Moh brings Bruce Lee back to life. And Julia Butters is wonderful as a precocious child actress, & I hope she gets more roles after her performance here. The rest of the supporting cast, especially Austin Butler, Luke Perry, & Al Pacino, give great performances.

Quentin Tarantino's direction is phenomenal. Tarantino's sense of world-building is turned up to 100, as he makes us feel like we're back in 1969, when the streets of Los Angeles were draped in neon & the counterculture ruled society. He also brings back his trademark visual style, where the visuals are visceral & bursting with energy. And, surprisingly for him, the atmosphere has no sense of nihilism or bleakness, but is instead filled with nothing but pure warmth & sincerity for the people, the time, & the place.

Quentin Tarantino's screenplay is brilliant. The plot is always ready to keep us on the edge of our seats & subvert our expectations. The characters are wonderfully realized, & also lovingly idiosyncratic. And the dialogue is, as always for a Tarantino film, perfect.

Robert Richardson's cinematography is gorgeous. Richardson colorfully paints 1969 Los Angeles in neon colors & bright sunshine, always giving us a huge burst of nostalgia for the time period. And when it couldn't get better, it does; its projection on film gives it more of a timeless quality, perfectly fitting that wondrous era. If you get the chance, please see it on 35mm film (or, if you're lucky, 70mm film).

Fred Raskin's editing is excellent. For a film that runs over 2.5 hours, the film races by so quick. Also, it is so perfectly cut, using fast cutting the way it should be used.

Arianne Phillips' costume design is beautiful. The costumes are so colorful, period-accurate, & just so lovely to look at.

Barbara Ling's production design is spectacular. The set completely immerses us in 1969, with all the colorful architectural styles & studio backlots perfectly matching the era.

The makeup & hairstyling is superb. The makeup is colorful, & the hairstyling is completely period-accurate & lovingly realized.

The sound design is impeccable. The sounds are perfectly edited & mixed, especially when it comes to the sounds of Tarantino's trademark violence.

And the soundtrack is incredible. The music of the era becomes a character in & of itself. With songs such as Deep Purple's Hush, Neil Diamond's Brother Love's Travelling Salvation Show, The Buchanan Brothers' Son of a Lovin' Man, Los Bravos' Bring a Little Lovin', The Mamas & the Papas' Twelve Thirty (Young Girls are Coming to the Canyon), Vanilla Fudge's You Keep Me Hangin' On, & The Rolling Stones' Out of Time, the soundtrack is a mix of major hits, one-hit wonders, & lesser-known singles that perfectly serves as a backdrop to the characters & the setting.

Once Upon a Time in Hollywood is one of Tarantino's three best works, along with Jackie Brown & Inglourious Basterds. It is Tarantino at his most laid-back, sincere, & hilarious, but above all, it is a gorgeous love letter to the Golden Age of Hollywood.

Once Upon a Time in Hollywood was seen by me at the MJR Marketplace Digital Cinema 20 in Sterling Heights, MI on Thursday, July 25, 2019. It is in theaters everywhere, & it is showing on 35mm film at the Michigan Theater in Ann Arbor, MI. Its runtime is 161 minutes, & it is rated R for language throughout, some strong graphic violence, drug use, & sexual references.

The Art of Self-Defense

★★★★★ - A Review by Cameron Kanachki

Dark comedy is my absolute favorite type of comedy. I love laughing at things that would usually be considered taboo. However, naturally, there are things that shouldn't be joked about. But for the most part, if you find the right thing to poke fun at, it will work out incredibly well, & will make me burst out in laughter.

The Art of Self-Defense does just that, & is one of the funniest films of this decade. The film follows Casey Davies (Jesse Eisenberg), a 35-year-old mild-mannered accountant. Casey lives alone with his dog, & feels incredibly out of place at work. Ultimately, Casey mostly stays inside his own little shell.

One night, Casey goes to purchase dog food. On the way back, Casey is approached by 3 people on motorcycles, & after being asked if he has a gun, is robbed & savagely beaten. While given time off work, Casey becomes insecure in his masculinity, & considers purchasing a gun for protection. However, Casey does find an outlet for his issues in a karate dojo, led by Sensei (Alessandro Nivola). Casey tries a free class & likes it, eventually starting to take day classes, earning his white belt, the first belt in line.

While in karate, Casey meets Anna (Imogen Poots), a brown belt student who also teaches the children's classes, & Henry (David Zellner), a blue belt student who befriends Casey. Eventually, Casey catches the eye of Sensei & the other students, eventually being promoted to a yellow belt, while Anna & Henry are snubbed for promotions, Anna's snubbing being for her womanhood, according to Sensei.

Eventually, Casey gets himself invited to the prestigious night classes, as Sensei sees himself in Casey. But the more involved Casey gets in karate, the more he wonders about what is actually going on at the dojo.

The cast is terrific. Jesse Eisenberg is perfect in the role he was born to play: a seemingly meek person struggling with masculinity issues. Alessandro Nivola is devilishly mysterious & bitingly funny. And Imogen Poots is superb.

Riley Stearns' direction is excellent. Stearns always keeps on the edge of our seat by always staying one step ahead of the audience when it comes to where we think the film is headed.

And Riley Stearns' screenplay is brilliant. The plot deals with many relevant themes, such as toxic masculinity & gun culture, all to incredible effect. The characters are wonderfully offbeat. And the dialogue is gut-bustingly hilarious.

This is one of the best dark comedies I've ever seen. It deals with so many timely themes in such a hilarious manner, & establishes Riley Stearns as a great up-&-coming director in American independent cinema.

The Art of Self-Defense was seen by me at the Landmark Main Art Theatre in Royal Oak, MI on Friday, July 19, 2019. It is currently showing in 10 theaters in the Detroit area, including the Landmark Main Art Theatre in Royal Oak, MI; the AMC Forum 30 in Sterling Heights, MI; the AMC Star Great Lakes 25 in Auburn Hills, MI; & the Emagine Canton in Canton, MI. Its runtime is 104 minutes, & it is rated R for violence, sexual content, graphic nudity & language.

The Lion King

★½ - A Review by Cameron Kanachki

The Lion King (1994) is, by far, the greatest animated film ever made. The opening sequence is still emotionally powerful after 25 years, & the animation is timeless. And as someone who has only watched it for the first time recently, I can say that I feel connected to it as much as someone who has seen it many times since they were a toddler.

However, The Lion King (2019) is nowhere near the original in terms of quality, & is ultimately a soulless live-action remake. The film follows Simba (Donald Glover as an adult, JD McCrary as a child), a lion in the Pride Lands of Africa. His father Mufasa (James Earl Jones) is the king of the Pride Lands, assisted by the hornbill Zazu (John Oliver) & the mandrill Rafiki (John Kani), & with his queen Sarabi (Alfre Woodard) by his side. However, Simba's uncle Scar (Chiwetel Ejiofor) is secretly planning to usurp the throne from Mufasa with the help of Shenzi (Florence Kasumba), Kamari (Keegan-Michael Key), & Azizi (Eric Andre), three hyenas. Nevertheless, Simba yearns to be king one day, & he is betrothed to Nala (Beyoncé as an adult, Shahadi Wright Joseph as a child), his best friend.

One day, Scar sets a trap for Simba & Mufasa as a large herd of wildebeest stampede by Pride Rock. Simba is lured into the stampede, leading Mufasa to come & save him; however, although he saves Simba, Mufasa is unable to get back up off the ledge. Mufasa asks Scar for help, but Scar lets him fall off the ledge, & is killed in the stampede. Scar blames Simba for his father's death, & tells him to run away & never return. Scar sends the hyenas after Simba in a plan to kill him, but they fail in their quest.

Simba runs all the way to a desert, where he collapses. He is rescued by Timon (Billy Eichner) & Pumbaa (Seth Rogen), a meerkat & a warthog, respectively, who are best friends. They take Simba in & introduce him to their philosophy of "hakuna matata," which means "no worries." Simba grows up under this philosophy, & finds himself to be content with his carefree life. But a chance encounter with Nala will lead Simba to reconsider his future & possibly return to the Pride Lands to take back his kingship.

The cast is great. Donald Glover, Beyoncé, James Earl Jones, & Alfre Woodard are all great. Billy Eichner & Seth Rogen steal the show. However, Chiwetel Ejiofor is not a great fit, never fully capturing the essence that made Jeremy Irons so imposing in the original film.

Jon Favreau's direction is underwhelming. While he does show a keen visual eye, Favreau is never able to get near as much natural emotion from the audience as Rob Minkoff did with the original film.

Jeff Nathanson's screenplay is mediocre. The plot is exactly the same as the original, & while that's not inherently bad, there is nothing new given to the characters, ultimately making the film feel soulless.

The visual effects are polarizing. For the most part, the animals are incredibly well-realized. However, the lions have no emotion whatsoever, making them feel very unrealistic.

And the music is terrific. The score by Hans Zimmer still has a timeless quality, & the songs feel as fresh as ever.

This is a huge disappointment. Although there are things to like about it, it's basically a glorified Disney Nature documentary, & that's definitely not a compliment.

The Lion King was seen by me at the AMC Forum 30 in Sterling Heights, MI on Thursday, July 18, 2019. It is in theaters everywhere. Its runtime is 118 minutes, & it is rated PG for sequences of violence & peril, & some thematic elements.

Stuber

★★★½ - A Review by Cameron Kanachki

Cop comedies have been around in cinema for ages: some good (21 Jump Street & 22 Jump Street), some bad (Stop! Or My Mom Will Shoot). Although they aren't as successful as they once were, they're still enjoyable from time to time.

Stuber isn't anywhere near perfect, but it's definitely hilarious & enjoyable. The film follows Stu (Kumail Nanjiani), a mild-mannered Uber driver in Los Angeles. Stu also works at a sporting goods facility, where he has to deal with co-workers like Richie Sandusky (Jimmy Tatro). However, he is planning on leaving his job at the sporting goods facility to start up a women's spin biking gym with his best friend/crush Becca (Betty Gilpin).

One day, Stu picks up Det. Vic Manning (Dave Bautista), a detective for the Los Angeles Police Department. Vic is after Oka Teijo (Iko Uwais), a notorious drug lord who killed Vic's partner Det. Sara Morris (Karen Gillan) six months earlier. As a result of her death, Vic has been adamant in finding him, although Capt. Angie McHenry (Mira Sorvino) has told him to take a break from the case. Vic would do the task himself, but as a result of LASIK surgery earlier that day, he cannot drive, so he forces Stu to drive him around looking for Teijo in the Uber that his daughter Nicole (Natalie Morales) called for him for her art gallery that night.

While driving through Los Angeles, Stu & Vic constantly bicker: Stu berates Vic for his toxic masculinity & neglect towards his daughter, while Vic berates Stu for not being a real man. But they must put aside their differences if they have any chance at finding Teijo.

The cast is amazing. Kumail Nanjiani continues to show that he is one of the funniest actors in Hollywood right now. Dave Bautista also shows off the great comedic timing that made him such a standout in the Marvel Cinematic Universe. The rest of the cast is also hilarious, but it's Nanjiani, Bautista, & their chemistry that truly shine.

Michael Dowse's direction is great. Although his handling of the action sequences isn't the best, he definitely continues to show a great eye for comedy.

And Tripper Clancy's screenplay is very good. The plot is definitely formulaic, & some characters aren't fully realized, but the dialogue is often very humorous.

This is a solid action-comedy. Although it is nowhere near a 5-star ride, it has just enough for me to give a positive rating.

Stuber was seen by me at an advance screening at the MJR Troy Grand Digital Cinema 16 in Troy, MI on Wednesday, July 10, 2019. It is in theaters everywhere. Its runtime is 93 minutes, & it is rated R for violence & language throughout, some sexual references & brief graphic nudity.