Monday, October 15, 2018

Ike Barinholtz's THE OATH explores our divisive USA like nothing we've yet seen


What a blessing -- if a rather nasty one -- is thrust upon us by writer/director/star Ike Barinholtz, who seems determined to hold up in front of us an almost too-current picture of what's left of middle-class society today: as fractured and divisive as anything TrustMovies has seen so far in his 77-year lifetime. After the critics' screening he attended down here in South Florida a few weeks back, folk were standing around in little groups, animatedly discussing the pros and cons of what they'd just viewed.

In THE OATH, Mr. Barinholtz (shown above, right, with his co-star Tiffany Haddish, who plays his wife) provides his smartest move by making his character, Chris, quite the knee-jerk liberal, with the accent thoroughly on the jerk. Oh, yes, his progressive heart and mind are firmly on the side of the 99 per cent against the reigning one per cent, but his attitude and actions are such that he comes off like a number-one asshole kept barely in check by his more tolerant and understanding wife.

The movie's plot is set maybe next year, when the President of the USA declares that all citizens should sign an oath, declaring their "loyalty" to their country. Yes, this is not at all a difficult turn of events for any sentient person to imagine, and when the deadline for signing is set as the day after Thanksgiving, this brings a whole new meaning to "Black Friday." Chris' family, it turns out, is one of those thoroughly divided into "red" and "blue," thus setting us up for a very tricky Thanksgiving meal.

There is humor and satire aplenty here, with the two leads doing a bang-up job in their respective roles. Barinholtz takes a brave stance in making Chris so simultaneously spot-on yet unappealing, while it is great to see Ms Haddish drop her usual snark to play -- and very well -- a genuinely conflicted, caring wife. Supporting roles are smartly cast, including the filmmaker's own brother, Jon Barinholtz, playing Chris' ultra-right-wing bro, Pat (shown above, right, with Meredith Hagner, who plays his like-minded girlfriend, Abbie).

A little over halfway along, the movie takes quite a turn, as representatives from the government's new "oversight" agency arrive at the home and begin to quietly (and then not-so) interrogate husband and wife. As beautifully played in good cop/bad cop fashion by John Cho and Billy Magnussen, shown above, right and left, respectively). At this point, The Oath takes on aspects of the home invasion thriller, while never letting go of its humor or satirical bite.

During our post-movie lobby chat after the critic's screening, one woman said she found the film brilliant until its final few minutes, during which, for her, it all fell apart. The ending will probably prove as divisive as our current red/blue split. For me that finale works wonderfully well, providing a much-needed "if-only" respite from the horrors at hand. How well Barinholtz uses those old American clichés of milk and apple pie, and how nice to see our family finally sit down to a well-earned dessert.

Perhaps, when the Blu-ray and DVD are released to home video, we'll get to see an alternate ending (if not several). I'm sure Mr. Barinholtz had a few in mind here. Till then, content yourself with one of the most riveting, funny, and timely films in a long, long while.

From Roadside Attractions and running a swift 93 minutes, The Oath opens here in South Florida and elsewhere this Friday, October 19. In the Miami area, look for it at the AMC Aventura 24, Regal South Beach 18, and AMC Sunset Place 24; in Broward County at the Cinemark Paradise 24 and Regal Cypress Creek ; and in Palm Beach County at the Regal Shadowood 16 and Cobb's Downtown at the Mall Gardens Palm 16.

Sunday, October 14, 2018

Sunday Corner With Lee Liberman -- On Netflix, two different views of World War II: THE GUERNSEY LITERARY AND POTATO PEEL SOCIETY and THE RESISTANCE BANKER


This post is written by our 
monthly correspondent, Lee Liberman



“Perhaps there is some secret sort 
of homing instinct in books that 
brings them to their perfect readers…..” 


Spun from honey (which has food-value unlike sugar), this delicious rom-com of a war romance is not an oxymoron. A WWII story has finally arrived driven by the full-on form of romantic drama rather than embattled war film. THE GUERNSEY LITERARY AND POTATO PEEL SOCIETY, by the director of Four Weddings and a Funeral, Mike Newell, is a sparkling, irresistible pastiche of friendship, love, mystery, and travel excursion, a perfect date-night entertainment. It’s based on a best selling novel of the same name by Mary Ann Shaffer and Annie Barrows (2008). Newell (below) filmed in Dover and Cornwall, as the British channel island of Guernsey itself does not offer 1946-worthy locations — too polished, painted, and updated, he said. (And on the beautiful craggy coastline he chose, Poldark might just be galloping around a bend.)


Downton Abbey’s cast is well-represented by Guernsey’s quirkily pretty and appealing lead, Lily James, plus Penelope Wilton, Jessica Brown Findlay, and Matthew Goode (the big-screen DA film version is due 9/19). Add more talent including Tom Courtenay, Michiel Huisman, Katherine Parkinson, and two children, to make a winsome and idiosyncratic Guernsey Island ensemble, offset by dashing American, Glen Powell.

Juliet Ashton (James), a fetching young writer in 1946 London, has had an exchange of letters with Guernsey pig farmer, Dawsey Adams (Huisman, “Game of Thrones”), who owns a book by Charles Lamb, essayist and critic, with Juliet’s name and address penned inside (she had sold it once in need of cash). He asks her to direct him to a London bookshop as there isn’t one left on Guernsey so he can order Lamb’s Shakespeare’s tales for children. He tells her of his reading group called The Guernsey Literary and Potato Peel Society, formed during the war in a precarious moment when they were caught out after curfew, and which offered camaraderie and comfort in the face of the punishing Nazi occupation.

Expecting to find the plight of British islanders during the German occupation of interest to readers of The London Times, Juliet travels by boat to Guernsey (above) for the next meeting of Dawsey’s group. There she finds quietly scarred, reticent residents and a mystery: the organizing force of the Society, Elizabeth (Findlay), has been missing since her arrest in 1944, having left her tiny daughter Kit with Dawsey, who now calls him ‘daddy’ (below, Elizabeth and Dawsey before her arrest).

Elizabeth’s story is doled out in morsels as Juliet extends her stay searching for answers, gradually coaxing information from Dawsey (below) and the circle of friends, war records housed on the island, and eventual aid from Juliet’s fiancé in London, American officer, Mark Reynolds (Powell), who agrees to research what happened. Through flashbacks to the Nazi occupation, we see snatches of its harshness, concentration camp victims being worked and starved to death building fortifications on island and the indignities of British citizens being forced into submission with unthinkable rules and deprivations.

Dawsey explains that after its gaudy arrival (below) the German army forced them into isolation — telegraph cables cut, radios taken, mail stopped, curfews imposed. Island animals, including his pigs, were confiscated to feed the German army on the continent and he himself ordered to grow potatoes.

Guernsey residents were literally hungry and also starved for fellowship. Their book society became their refuge, says Dawsey, “a private freedom to feel the world growing darker all around you but needing only a candle to see new worlds unfold…..” They savored it together with trays of Amelia’s tea, nips of Isola’s (Parkinson) home-distilled gin, and Eben’s (Courtenay) tasteless potato peel pie (potatoes, peel, no butter or flour).

By and by, Elizabeth’s fate is told and resolution of the Juliet/Mark/Dawsey triangle is calculated to charm. The story would have been richer for more reveal of Elizabeth’s life, her relationship with a German soldier, and her stubborn defiance of the occupation. Reminiscent of Sybil Crawley’s rebellious spirit in the Downton Abbey saga, Jessica Brown Findlay surpasses herself in very little screen time, her emotions and actions making you want more of Elizabeth’s story, while a bit less of Juliet’s earnest dithering would have balanced the film’s rom-com-ness with more solemnity. Penelope Wilton (below, third from r) is the weight and grief of the drama, compelling as grandmotherly Amelia who has suffered much loss during two world wars. Wilton’s rich acting chops get far more reveal than the writing of her character allowed in many seasons of Downton Abbey.

But most pleasant of all, The Guernsey Society itself speaks to the pleasures of reading and in particular, its sharing.

 “What is reading but silent conversation.” 

 “A book reads the better which is our own, 
and has been so long known to us, 
that we know the topography of its blots, 
and dog’s ears, and can trace the dirt in it 
to having read it at tea with buttered muffins.” 
                                          .....Charles Lamb

************************************


A traditional cloak and dagger WWII story (Netflix, subtitled) THE RESISTANCE BANKER is the true account, set in Nazi-occupied Amsterdam, of banker-brothers Walraven and Gijs van Hall, who used their financial expertise and positions of authority to rob their German occupiers blind, Robin Hood style, stealing from the Nazi-run Dutch central bank in order to fund the Dutch resistance. The brothers mustered funds through forgery and fraud to help fund the Red Cross, pay railroad strikers, resistance fighters, spy, and sabotage groups, and to buy printing and ID making equipment and supplies; they carried the underground on their shoulders. Proud of fighting smart, they used ingenuity and gumption to outwit a much weightier opponent. The Resistance Banker is the Dutch entrant into the Best Foreign Film category of the 2019 Academy Awards. It was a big hit with the Dutch public and is joined by other nations entering WWII-related films into the U.S. premier awards contest. (Russia has Sobibor, Austria: The Waldheim Waltz, Slovakia: The Interpreter, Switzerland: Eldorado.)

The film is helmed by movie and tv director, Joram Lürsen (at left). The 'Resistance Banker’ and ring-leader, Walraven van Hall, is played by Barry Atsma, who must have relived his role of a few years ago as Johan de Witt, prime minister of the democratic Dutch republic in the mid-1600’s, who guided the Netherlands during its Golden Age. He was butchered like Braveheart by political opponents in the Dutch film, Admiral. While Johan de Witt and his brother were both martyred in particularly gory fashion in 1672, the van Hall brothers fared both good and bad in 1945. Wally van Hall was betrayed, arrested, and shot more antiseptically in a lineup just weeks before the end of the war. Upon the arrest, Brother Gijs (Jacob Derwig) took Wally’s wife and children and his own family into hiding while Wally’s fate played out. Following the war, Gijs had a successful political career, eventually becoming Mayor of Amsterdam.

The saga began for Wally (above) in 1942 when he discovered the murder-suicide of a Jewish client and family that was precipitated by Nazi orders to vacate their home and submit to deportation. In a second rude-awakening, on a train halted for another, he witnessed cattle cars pass by filled with screaming prisoners. (These brief moments are the viewers only contact with the scale of atrocities perpetrated by the Nazi regime other than their brutality to the resistance members they arrest.) Van Hall’s resolve to proceed consumed his life and he coaxed his more cautious older brother, Gijs, to join him in an underground bank scheme proposed by resistance members. The film lingers on the internal conflict of risk to life, family, and financial ruin before the brothers committed wholeheartedly to the dangers. But together they went on to engineer a variety of schemes, starting with raising legitimate loans and proceeding to outright theft and forgery. Below they check out fake currency, hot off the press.

They reportedly conjured up the modern equivalent of over a half billion Euros, called the largest bank fraud in Dutch history. But van Hall was a meticulous record keeper: he tracked and noted the intake and outgo of every amount and left a history of transactions as anal as Nazi record-keeping of its evil doings.

The tale does not progress smoothly; the frauds being committed under the noses of the Germans develop at a snail’s pace and the nature of the actual schemes somewhat difficult to follow, but the suspense ramps up midway to a thrill ride. Do hang on as the Nazi’s close in on Wally while money transactions are in high gear. Their work was almost done when Wally was caught near war’s end (below); Gijs, however, was able to continue distributing funds until the actual end of the war and offer exact accounting to legitimate authorities when the Dutch government reassembled.

Not until 2010 did the Dutch create a monument to their heroic steward — ‘the premier of the resistance’. Located opposite the Dutch Central Bank, it is an unusual bronze sculpture of a fallen tree (below) symbolizing their fallen giant. Both the film version and the family’s original black and white home movies (run over the credits) show Wally and his children tree climbing — the fallen tree sculpture resonates. But I’d like to think that a tall standing tree clouded in a perpetual mist would have been a more inspiring eternal metaphor for Walraven van Hall.


Wednesday, October 10, 2018

Marc Fusco's THE SAMUEL PROJECT opens in South Florida theaters


The Holocaust meets an After-School Special, and the results are actually a bit better than you might expect in THE SAMUEL PROJECT, a new film co-written (with Chris Neighbors), directed and edited by Marc Fusco. Yes, this is what we like to call "Holocaust-lite," yet as easy-going, obvious and predictable as the movie often is, it is not insulting nor stupid.

And if the idea of a Holocaust survivor not wanting to share his story of family murder and Nazi genocide with his son, let alone his grandson, this kind of secrecy was certainly not that unusual amongst survivors.

Filmmaker Fusco, pictured at left, does a decent, if standard, job of bringing his story to life, helped along by some classy cinematography (Stephen Sheridan), good performances from his cast, and some nice animation/illustrations by Donald Wallace. The movie is a mix of melodrama, slight comedy, animation art and generation gap, as its tale of grandfather (Hal Linden, above and below, right) and grandson (Ryan Ochoa, above and below, left) get to know each other and help each other out.

The two actors, both long-time professionals (young Mr. Ochoa already has 26 imdb credits, Mr. Linden 74), bounce off each other pleasantly and charmingly, with good supporting work provided by Michael B. Silver (below) as the middle-generation dad,

and Mateo Arias (below, left) as Ochoa's bizarro school-chum musician. The plot involves grandson, a hopeful artist still in high school, who begins questioning his grandfather regarding the latter's life during World War II, which leads to a long-buried story unfolding -- which is slowly turned into "art" via the grandson's drawings and some accompanying music, courtesy of that best friend.

While the tale, as well as its telling is quite unsurprising, the finale -- which is the showing of the grandson's complete video -- is charming and worth the wait. And the pretty and not-so-oft-seen San Diego shooting locations are attractive, too.

From in8 Releasing and running a swift 92 minutes, The Samuel Project, opens this Friday, October 12, here in South Florida in the Miami area at the Regal Southland Mall, in Fort Lauderdale at the Tamarac Cinema 5 and Cinema Paradiso Hollywood, and in West Palm Beach at the Movies of Delray & Movies of Lake Worth.

Monday, October 8, 2018

In Wash Westmoreland's bio-pic, COLETTE, Keira Knightley gets yet another "role of a lifetime"


The beautiful and talented Keira Knightley has by now had so many role-of-a-lifetime roles, in all of which she has proven superb (and quite versatile) -- Domino, Atonement, Never Let Me Go, A Dangerous Method, Begin Again, to name just a few -- that when yet another one comes along, as in the just-released bio-pic of the famous French writer of the early 1900s, COLETTE, we should certainly know what to expect. Once again, Ms. Knightley, shown at left, delivers the goods. She is just about everything you could ask for in the role.

The movie itself, directed and co-written (with the late Richard Glatzer and Rebecca Lenkiewicz) by Wash Westmoreland (shown at right), is quite good, as well -- gracefully and smartly directed and written with an alertness to detail and period specifics so that, although nearly everything proceeds as you will expect, everything is also brought to such intelligent and pleasurable life that you will not, I think, complain.  The movie is particularly timely, too, given its concerns with the plight of a wife of that era, taken near-complete advantage of as woman and artist by her thoughtless and entitled husband.

As played by Ms Knightley with a quiet gravitas and keen intelligence, Colette bides her time, writing successful novels attributed to her husband (played to his usual high standard by Dominic West, above), while indulging her own needs and desires until hubby's behavior at last goes past the point of tolerable.

Adventures here include those with an American ex-pat Southern belle (nicely limned by Elinor Tomlinson, above), who is attracted to both husband and wife; time spent acting and dancing with a theater troupe; and finally an erotic and deeply emotional relationship with a cross-dressing woman of unusual strength and perspicacity (a terrific Denise Gough, below).

Westmoreland's movie manages to be entirely pleasurable and intelligent, elegantly moving from scene to scene, with pacing that never lags and visuals that charm the eye. This is certainly the director's most beautiful (and probably costly) endeavor.

And while the film is absolutely au courant regarding feminism and woman's rights, there is never a need to push anything too adamantly, as all is built right into the story and period. Sets and costumes are first-class, as are all the performances, too -- including the great Fiona Shaw as Colette's perceptive and encouraging mother.

Some viewers, given the permissive age we live in, might expect racier and more explicit sex scenes and nudity. These can be perfectly OK in their place, but they're unnecessary here. The movie comes through just fine as is, and "as is" proves very good indeed.

From Bleecker Street and running 111 minutes, Colette, after opening on both coasts three weeks ago, and in other major cities over the two weeks following, will finally open everywhere else this Friday, October 12 -- including South Florida where it will play the Miami area at the AMC Sunset Place 24 and Aventura 24, the CMX Brickell City Center 10, the O Cinema Miami Beach and Regal's South Beach; in Broward at The Classic Gateway and the Cinemark Paradise 24; and in Palm Beach County at the Regal Shadowood 16, Living Room Theaters, Cinemark Palace 20, AMC City Place 20, Movies of Delray and Lake Worth, Cinemark Boynton Beach 14, Downtown at the Mall Gardens Palm 16, Cinepolis Jupiter 14, AMC Indian River 24.

Sunday, October 7, 2018

In VENOM, Tom Hardy delights, while director Ruben Fleischer gets the tone just right


Enough knocking from the critical establishment (32% on Rotten Tomatoes) and the anger of comic book fans who wanted something much darker: The movie of VENOM turns out to be a lot of fast, frisky fun. This is thanks to director Ruben Fleischer (shown below), the smart guy behind Zombieland and 30 Minutes or Less, who understands the importance of proper pacing and, above all, achieving the right tone. He manages both here, and the
result is enormously entertaining -- a great mash-up of not-quite-super-hero, some dark doings and a lot of delightful, off-the-cuff humor. The humor comes courtesy of that wonderfully versatile and uber-watchable actor, Tom Hardy, shown below, along with his alter-ego/alien embodiment that has somehow, via the oddball and not-quite-completely -thought-out plot machinations, embedded itself in his mind and body. Die-hard fans of the amazing Mr. Hardy (TrustMovies is one of these) will feel jealous indeed of that lucky alien!

Owing quite a debt to The Hidden, one of the first and certainly the best body-hopping alien movie ever made, this newer, bizarre and often clashing combo of predatory alien and smart, sexy, laid-back hero is responsible for much of the movie's near-constant chuckles and smiles. As is Mr. Fleischer's understanding of how to pace events and action so that much of the movie's necessary exposition easily goes hand in hand with action, laughs and some pretty nifty special effects.

Along for the wild ride are Michelle Williams (above, left), somewhat underused as Hardy's girlfriend, and villainous Riz Ahmed (below, center, with Jenny Slate, at left, who forsakes her comedic abilities to play Ahmed's assistant-with-a-conscience). After his fine work in Closed Circuit and now this film, Ahmed (of Nightcrawler and The Night Of) shows us how easily and gracefully he can move from good guy to bad.

How the Hardy character and his alien finally bond and make the best of things is great fun to see. After so many stupid-hero movies that beat us about the head with over-done and over-long CGI effects and stories that go on and on and on, how pleasant to view something relatively short (112 minutes), sweet and entertaining that gets so much so right.

From Sony/Columbia, the movie opens this weekend nationwide, and --despite the critical opprobrium and anger of comic book fans -- is going to be a huge success. I eagerly await the sequel which, if the scene inserted into the end credits can be believed, will feature a whacked-out Woody Harrelson as the villian! Playing all over the place, Venom can be found at theaters near you by simply clicking here.

Friday, October 5, 2018

Amazon Prime must-watch: Victor Levin's smart and hilarious DESTINATION WEDDING


What a treat it is to see two notable, long-time actors like Keanu Reeves and Winona Ryder rip into dialog that's smart, sophisticated and most of all bracingly negative -- about everything -- and keep you smiling, chuckling and outright guffawing for an entire 90 minutes. How the succulent-if-nasty delights of DESTINATION WEDDING managed to elude so many of our supposed cultural guardians (only 42% critical rating on Rotten Tomatoes,  though 63% of audiences liked it) surprises me, all right, but don't allow these goodies to bypass you. Grab this unusual movie while it streams via Amazon Prime, and let the luscious, hilarious mega-negativity wash over you. Really: You will not have heard dialog like this for, ummmm, quite some time. If ever.

The product of writer/director Victor Levin who, back in 2015, gave us the wonderfully smart, sophisticated, funny and moving love story, 5 to 7 (which remains among my favorites of all time), the movie and Mr. Levin (shown at left) have gone out on a limb and taken some really surprising chances.

First of all, the film is a two-hander. Oh, we see a bunch of other characters, but we never hear a word they say. Instead, all of the lip-smacking bile that constitutes the dialog here emanates only from the mouths of Frank (Mr. Reeves, below, left) and Lindsay (Ms Ryder, below, right), as they meet and almost immediately take a total dislike to each other.

How this comes about (in a tiny airport waiting area below) and continues through the rehearsal dinner, the wedding itself and even the after-party serve up a nonstop disgorging of some of the funniest and angriest logorrhea imaginable. But it is not simply unpleasant. These two people are smart, educated and very well-spoken, hence their ravings are usually as witty and on-point as they are angry and rude.

And, yes, it is clear before very long that the two are also hurt and frightened children who are of course destined for each other.  But the getting to that destination -- oh, my: the double meaning of the movie's title has only just occurred to me now -- is what provides all the fun.

That dialog also gives us some history and reams of exposition (as the two get to know each other, nastily) as well as a slow, bit-by-bit puncturing of some very well-armed defense systems. What a joy it is to see Ryder and especially Reeves tackling dialog this good and making the very most of it. Each actor also sees to it that his and her character's humanity never goes missing, no matter how bilious and accusatory are their rants.

Writer/director Levin is also wise enough not to allow sentimentality to mar things, even as our couple begins to grow bizarrely closer. Whether via surprise encounter with a wild animal or a hilarious fuck scene in which the dialog never stops, right through to the only somewhat hopeful finale, our protagonists keeping sparring and warring.

The arid, vast Paso Robles/San Luis Obispo California scenery (above) is enjoyable to see, and so are the nods/digs at all those things -- typical and atypical -- that make weddings such crazy, ridiculous fun. By the end of this oddball journey, if Reeves and Ryder and their unusual characters have not proven pretty close to indelible, I shall be very surprised.

Released in theaters last month via Regatta, the movie is now streaming on Amazon (and maybe elsewhere). Don't let this one get by you.

Wednesday, October 3, 2018

Bradley Cooper/Lady Gaga's A STAR IS BORN: It's great -- for about half the running time


It's a good thing that A STAR IS BORN -- the current film is at least the fourth go-round, under the same title, for this much-filmed tale of a younger woman who becomes a star under the tutelage of an older man whose life and career are flailing and failing -- is so energized and fulfilling during its first half.

This probably means that the hordes of fans of its two stars, Bradley Cooper and Lady Gaga (at right and below), will easily hold on through the movie's much more tiresome and cliché-ridden downer of a second half.

That initial hour or so of this overlong, 135-minute movie moves like a house afire, as director, co-star and co-writer Cooper brings the tale easily into the 21st century, while Ms Gaga proves that her acting chops are nearly as good as her singing.

Cooper and crew toss in everything from a gay BFF (Anthony Ramos, below, right) and a drag club, at which our heroine used to waitress and now sometimes sings, to her dumb-but-loveable dad (Andrew Dice Clay, above, right) and his pals to place us resolutely on her side. Further, the several set pieces that dot the first half are handled with such energy, speed and specifics that they win us over completely and make the character's rather meteoric rise seem pretty believable.

Interestingly, Cooper dispenses with much of the expository dialog and situations that we usually see in films such as this so that things move faster, even as the pace grow more breakneck. What dialog there is may not be crackerjack, but we don't really care since the film is barreling along so quickly and enjoyably.

Granted, someone's rise is generally more lively and fun than someone's fall, but the enormous difference here drains way too much energy out of the film, which grows consistently slower and more ponderous as it reaches its uber-clichéd and tearful conclusion.

Further, Cooper has turned his character into way too much a good guy (his only real fault is that nasty addiction to drugs and alcohol) while making the real villain of the movie the heroine's evil manager (Rafi Gavron) -- who not only tells her to do all the wrong stuff, career-wise, in terms of her "being true to herself," but is also practically single-handedly responsible for her hubby's sad fate. So nasty and over-the-top is this guy that, though clean-shaven, you would not be at all surprised to find him twirling his non-existent mustache.

This switch in time, energy and concern from our heroine to our non-hero reduces Gaga's role to second tier -- which is too bad, since she was the spark in part one. She is given too little to do and not nearly enough decent dialog (it becomes more noticeably so-so in the second half) so that her performance begins to rely more and more on the usual clichés. (That's Sam Elliott, below, right, who plays our drunken hero's off-and-on estranged older brother.)

All this may not matter much to major fans of the two stars. But it did to me. And it may to others out there who recall the earlier iterations of A Star Is Born. While this re-telling is a whole lot better than the 1976 Streisand fiasco, it does not hold a candle to the Cukor/Garland/Mason version from 1954.

A Warner Brothers release running two hours and fifteen minutes, the movie opens nationwide this Friday, October 5. Click here to find the theater(s) nearest you.