“The Killing of a Sacred Deer”: “Lobster” director plays again on our unspoken fantasies to build horror

The Killing of a Sacred Deer” opens with a beating heart, encased in a chest cracked open like “The Lobster” (May 22, 2016).  Then we see a surgeon take off his gloves and dispose of them.  We see his sleek hands (a line later used a few times in the script written with Efthymis Flippou), and that at least his forearms are still softly haired, as if the ultimate future of infection control were not yet in place.

I’m introducing the latest quirky horror comedy (or satire) from Yorgos Lanthimos, and it has a plot concept that feints of ephebophilia, and then plays on male fetish obsessions that have been frankly significant in my own life to build a plot and a rather horrific and tragic climax.

The music score, with Schubert, Bach, and especially Lygeti, underlines the urgency for the characters, but maybe it could have added Mahler’s Kindertotenlieder (“Songs of the Death of Children”).

Stephen Murphy (Colin Farrell) is the heart surgeon and cardiologist in a Cincinnati hospital. (The city looks sharp in the film, especially in multiple scenes across the Ohio river from Covington, KY.)  In his past, he once lost a patient at age 46 apparently during some routine bypass surgery. That deceased patient’s verbal teenage son, Martin (Barry Keoghan) starts showing up in Murphy’s life, mostly by self-invitation.

Murphy has built an impressive family in his palatial home, with wife Anna (Nicole Kidman) and gender fluid son Bob (Sonny Suljic) and teen daughter Kim (Raffey Cassidy). At first, the daughter teases Martin about his lack of body hair (some teens would normally have more) and Martin pretends to be ill and shows up at Murphy’s office for a physical. There is a scene with a stress test, with eight leads, where Martin asks what would happen if he were hairy, and Murphy admits he would have to be chest-shaved, and that it could take a little while to grow back.  Murphy even gets into mention of “hormones” (reminding me of my own Ft. Eustis days). Martin even asks to see Murphy’s chest.  There’s also, as I recall, an odd line about replacing a grabby metal wristwatch with leather. Martin acts as if he believed the world had some sort of fascist conspiracy to eliminate less desirable men (like the Nazis did) as if this could be eroticized. For a little while, the film has you wondering if indeed Murphy is falling into an illegal relationship with the teen boy.

But at midpoint, the film takes a surprising twist. Bob, and then Kim, develop a kind of guillain- barre syndrome, with intermittent and then persistent leg paralysis, when medical tests can find nothing wrong. In a particularly arresting scene Martin threatens Murphy by suggesting that he (Martin) is causing the syndrome with some supernatural curse.

I’m not sure that the conclusion, which involves some vengeful violence against Martin and then a lottery to find the “deer” is necessarily all that convincing.  Some critics will say that Stephen gets his wish, to play god again. That’s a problem with setting up an erotic premise like this:  it is hard to find somewhere to go.

Wiki picture of downtown Cincinnati.  My visits: 1992, 2012.

Wiki picture of a Holter Monitor on a young adult male, underscoring Martin’s concerns.

Picture: Mt Vernon, Ohio, 2012, my trip.

Somehow the title and tone of this film reminds me of “The Killing of Sister George” (1968, Palomar, dir. Robert Aldrich, with Beryl Reid.) I;m also reminded of Judd Apatow’s “The 40-Year-Old Virgin” (2005, Universal) with Steve Carell as hapless.

Name: The Killing of a Sacred Deer
Director, writer:  Yorgos Lanthimos, wr with Efthymis Flippou
Released:  2017/10/27
Format:  1.85:1
When and how viewed:  Angelika Mosaic, 2017/10/29 fair crowd
Length:  116
Rating:  R
Companies:  A24, Film4, Hanway
Link:  distributor

(Posted: Sunday, Oct. 29, 2017 at 8:30 PN EDT)


“After Piketty”: compendium about wealth and income inequality mixes mathematics with challenges to personal morality

After Piketty: The Agenda for Economics and Inequality”, edited by Heather Boushey, J. Bradford DeLong, and Marshall Steinbaum, for Harvard University Press, is a gigantic compendium of academic reaction to Thomas Piketty’s 2014 missive, “Capital in the Twenty-First Century” (“C21”).

The book comprises four sections (“Reception”, “Conceptions of Capital”, “Dimensions of Inequality”, and “The Political Economy of Capital and Capitalism”), splitting into twenty-one chapters, after which Piketty responds with a Chapter 22, “Toward a Reconciliation between Economics and the Social Sciences”.

You really need the physical hardcover to follow this book; it’s a bit overwhelming on Kindle.

The editors start with an Introduction where they summarize Piketty’s basic claims:  social democracy became more generous with the disadvantaged right after the Great Depression and WWII, but generally the trend is toward greater inequality as was the case in the “Gilded Age”. Underneath income inequality lies wealth inequality, which tends to drive divergence in incomes.

A Chapter One by Arthur Goldhammer, “The Piketty Phenomenon” notes that Piketty’s book sold unusually well to the general public for a non-fiction academic text. Maybe this would become a lesson for me on how to sell my own authored books!

The various chapters often refer to actuarial calculus (reproducing some mathematical derivations (even partial differential equations) and proofs) and refer to the basic inequality  “ r > g” (average return on capital exceeds growth rate).  At then Piketty himself refers specifically to David Gerwal’s chapters and the “two fundamental laws of captitalism”, regarding the derivation of capital share, and the way the capital / income ratio follows the savings rate over growth rate.

But it is the socially descriptive material, and the bearings of such on personal morality, that occasionally grab attention. Piketty, some authors say, has no explicit theory of human capital (or social capital the way Charles Murray would talk about it).  But generational wealth gives some kids advantages, including those who (like me) grow up childless.  The advantages include greater financial stability when young (less need to go into debt), and very likely parents who have helped train them in the abstract thinking that is necessary for personal success in modern civilization. The quality of public education associated with class and particularly race becomes relevant.

Capitalism, by definition, implies that wealth accumulates on its own beyond the actual work done by the asset owner, so it implies also using (or “exploiting”) the labor of others.  That implies also rent seeking, which tends to impose rules on workers who haven’t accumulated enough of their own capital to own their own lives. No wonder, various forms of socialism and communism developed (even ideas about the moral nature of some kind of “New Man”) evolved over decades in the past two centuries especially.  I can remember the angry rhetoric, especially from women, when spying on meetings of the “People’s Party of New Jersey” in the early 1970s., like “why do we have to have capitalism”, along with proposals to limit maximum income to $50000 a year (income equality by racing to the bottom).   Sometimes threats of expropriation by force would evolve, as with the Patty Hearst case (Jeffrey Toobin’s book, Nov. 9, 2016, ironically reviewed by me right after Trump’s election).  Left wing terror preceded and sometimes went along with radical Islamic terror.

The book does get into sensitive ideas like personal complacency, along the lines of the usual rationalization (short of a canard) that ego-related inequality is necessary for innovation, even if it can undermine sustainability and stability. Indeed, lifelong accumulated savings (and some of it inherited) allowed me to become an independent journalist without the need for my own writing to pay its own way, which others may see as destructive or unfair.  I consistently refused to become someone else’s huckster, even as I understand the pressure on many people to join up and recruit others to buy from them.

Likewise the authors take up the issue of voice. Wealthier people are able to influence politicians to meet their needs, whereas the less well-off are recruited into solidarity by others who do not respect their ability to think for themselves.  Even Donald Trump bragged to his base, “I am your voice.”  I resent the idea that anyone else claims to be my voice.

Editors: Heather Boushey, J. Bradford DeLong, and Marshall Steinbaum
Title, Subtitle: After Piketty: The Agenda for Economics and Inequality
publication date 2017
ISBN 978-06745-0477-6  hardcover and Kindle
Publication: Cambdrige and London; Harvard University Press, Introduction and 21 chapters in 4 sections, with a Chapter 22 reply by Piketty
Link:  Publisher’s

(Posted: Saturday, October 28, 2017, at 6 PM EDT)

“Thank You for your Service”: Iraq war veterans fare badly, but Miles Teller seems better than the crowd

Thank You for your Service”, by Jason Dean Hall, based on the book by David Finkel, seems, as a biographical war drama, set up to teach us a moral lesson about relative sacrifice, and about how badly us civilians, with no appreciation (to put it in a classroom context) of war or military life, we allow our veterans to be treated when they return from wars that we goad our politicians into starting.  And, Oh yes, we still have a backdoor draft (the 2008 film “Stop-Loss“).

And, for the second film in a role, Miles Teller, as the returned Staff Sergeant Adam Schumann, steals the show.  He seems to together and charismatic to have all the symptoms and false visions that he claims.  He winds up taking care of everybody else (like my own aunt did).  The 30-year old actor is becoming America’s new male role model.

In an opening scene Adam, an IUD ordnance detection expert, leads his squad to the top of a building to take out a nest if snipers in post-Saddam Iraq.  When one of his men, Mike Emory (Scott Haze) gets shot on top of the head, Adam tries to carry him to safety with a fireman’s carry (we were tested on that in Basic Combat Training in 1968 on the PT test), but drops him, complicating his wounds. Emory partially recovers and winds up living in poverty in rural Arkansas, and Adam’s search for him becomes a major subplot.

But then there is Tausolo Aleti (Beulah Koale), a Somoan and Adam’s best friend back in Kansas, and much worse off than Adam, on the verge of being dragged into drug running. And Billy Waller (Joe Cole) comes back home to find his girl friend with baby had left him, destitute, and he winds up committing suicide in her bank workplace.

Haley Bennett shines as Adam’s loyal wife, who sees him through incidents like dropping his baby son from bed when he falls asleep with the son in his arms.

Much of the film concerns the bureaucracy of the VA and the long waiting lists men have for treatment, although from a screenwriting perspective it’s hard to make that generate “rooting interest”.

Hollywood Reporter interviews Schumann and Teller together.

Name: “Thank You for your Service”
Director, writer:  Jason Hall
Released:  2017/10/27
Format:  2.35:1
When and how viewed:  Regal Ballston Quarter, 2017/10/27, fair crowd
Length:  107
Rating:  R
Companies:  Universal, DreamWorks, Reliance
Link:  official

(Posted: Friday, Oct. 27, 2017 at 11L30 PM EDT)

“Only the Brave”: firefighting is like the military, and the horror of a firestorm is well noted

Only the Brave”, directed by Joseph Kosinski and based on the GQ article by Sean Flynn, is a rather frightening Imax dramatic account of the Granite Mountain Hot Shots, 19 of whom were trapped by Yarnell Hill fire in western Arizona on June 30, 2013, and roasted to death, despite being inside their fire bags.  The film release is timely given the recent destructive wildfires around Santa Rosa CA especially.

I presume the film has a lot of real footage of the fires, which explode and approach with shocking speed.

Much of the story concerns the group’s founder Eric Marsh (Josh Brolin), his wife (Jennifer Connelly), and one particular firefighter with a criminal record whom Eric hires and takes under his wing, Brendan McDonough, played by Miles Teller.  Now Teller often plays the charismatic young man who falls under the spell of an older mentor (as the jazz drummer in “Whiplash” (2014), so sometimes his roles seem self-contradictory.  His bod gets tested enough, first by P.T. (he vomits after finishing an uphill sprint the first time), and then by a desert rattler bite in the middle of the film, where Brendan does without the painkillers and anti-venom (and gets his bandages torn off his leg at a party rather unceremoniously). But once his daughter is born, he almost quits in order to be a better dad, before Eric talks that down.  Really, we’re too valuable to die only when we have kids?  Brendan is generous with radical hospitality, offering a teammate a room to stay in his apartment. Brendan, working as a “foreword observer” and apart from the unit, is the only member to survive.

In fact, the movie seems to convey a moral message about physical courage and risk sharing.  The Hot Shots are like a military unit, and individualistic men probably would not fit into it.  The rest of us depend on young men to sacrifice themselves, when life goes on for us.

The film twice gives us the image of a burning bear (grizzly), all its body hair on fire, fleeing the flames alive.

It’s noteworthy that women are not shown as members of the hot shots. There is old-fashioned unit cohesion among the men; sexuality (outside of Brendan’s daddyhood) and gender never come up in conversation.

Yarnell Hill Fire picture, Wiki.

Picture: brush in southern Nevada, my trip, 2012. Second picture: residual fire damage about Gatlinburg TN, six months after fire, my visit, July 10, 2017.

Name:  “Only the Brave”
Director, writer:  Joseph Kosinski
Released:  2017/10/20
Format:  2.39:1, Imax
When and how viewed:  AMC Tysons 2017/10/23, afternoon fair crowd
Length:  133
Rating: PG-13
Companies: Sony  Columbia Pictures, Black Label Media
Link:  official 

(Posted: Monday, Oct. 23, 2017 at 11:30 PM EDT)

“Happy Death Day”: The plot trick is hackneyed

The whole idea of waking up repeatedly to relive the day where you died has been tried before   The film “Source Code” (2011, Duncan Jones) had Jake Gyllenhaal lending his partial body and disembodied brain to possess other people, as a day is replayed repeatedly to prevent a nuclear terror attack on a Chicago commuter train.

The October horror comedy “Happy Death Day”, directed by Christopher Landon and written by Scott Lobdell, has no lofty intentions, although the movie took a lot of effort  and about $5 million to set up. Jessica Rothe plays sorority coed Tree Gelbam at a west coast “Bayview University”, that looks a lot like the campus in “Judas Kiss” (there is even a Harmon Hall, and in fact instant boyfriend Carter Davis (Israel Broussard) is a kindly person who seems like a straight version of “Danny”.  Tree wakes up in Carter’s dorm room after crashing, on her Monday, September 18 birthday, and lives out the day until she is murdered. She wakes up repeatedly out of the dream and gets repeated chances to save her own life, and may others, from a escaped serial killer who puts on a clown mask. (“IT” again.)  A jealous sorority sister fits into the rushed climax.

It may be that for some people death occurs as a nightmare you don’t waked up from.  Things stop working and making sense.  Time slows down (whereas in the film the episodes are telescoped).

“Downsizing”, moving out of an estate house into a smaller condo and parting with some things invokes the idea of entering a kind of epilogue of afterlife.  One of the junk removal people said a neighbor came by and asked if I had passed away.

Universal let its Valkyrie trademark stall twice as it announced the film. Bear McCreary’s orchestral score is scary at times and resembles Shostakovich at others.

Name: “Happy Death Day”
Director, writer:  Christopher Landon, Scott Lobdell
Released:  2017
Format:  2.35:1
When and how viewed: 2017/10/22, Alamo Drafthouse at One Loudoun, VA
Length:  96
Rating:  R
Companies:  Universal
Link:  official

(Posted: Sunday, October 22,2017 at 7:30 PM EDT)

“God’s Own Country” does seem like a “Brokeback Mountain II”

God’s Own Country”, directed by Francis Lee, may come across as a “Brokeback Mountain II” from Ang Lee a dozen years ago.

This time, the setting is in Yorkshire in northern England, apparently in the 1960s or so, before modern technology. Johnny Saxby (Josh O’Connor) seems a little squeamish over his farming duties – in the opening scene is vomits when getting up on a day he has to help a sheep deliver a baby.  His parents, especially mom, seem concerned about his manliness.  In a nearby town, he finds nelly boys who make him feel a little manlier by comparison. Gay life went on in rural England, even only a couple decades after Alan Turing’s tragedy (Britain decriminalized sodomy in 1967). When a roughshod immigrant, Georghe (Alex Secareanu) arrives from communist Romania, the new guy first intimidates Johnny because the comrade really is very good at doing everything on a farm.  The time of this movie may have actually been intended to coincide with the fall of the Soviet bloc and Ceausescu.  But soom Georghe’s dominating (very cis-male) behavior entices Johnny and they fall in love, with some passionate scenes when out on the range with bedrolls.

A family crisis ensues when dad has a stroke, and Johnny has to really take care of dad personally.  That leads to a whirlwind plot climax in the men’s relationship.

The film has graphic cinematography of the live animal birth scenes, with how farm boys really do this.  The animals “know” and “trust” them (“it’s only me”). I’m reminded of a live birth scene in Walt Disney’s “The Vanishing Prairie” (1954), a bit of a sensation at the time.

The film was preceded by a 10-minute short “Breakfast” by Tyler Byrnes. A young man David (Altan Alburo) invites a boyfriend Alex (Tommy Bernadi) (quite handsome but apparently with dysmorphia) with an eating disorder to share a fattening breakfast. The film contains David Lynch-like scenes with chest tunes invading.

The show, sponsored by Reel Affirmations of the DC Center at the Gala Hispania theater in the Columbia Heights area of Washington DC,  was preceded by a stand-up by Rayceen Pendarvis, advertising himself as 68, who got everyone one into a brief hug-fest.  That isn’t my own personal message, but that’s for another time.

Link for Yorkshire picture (wiki).

Name:  “Gods Own Country”
Director, writer:  Francis Lee
Released:  2016
Format:  1.85:1
When and how viewed:  Reel Affirmations, 2017/10/19 opening night, Gala Hispania, Washington DC, sold out
Length:  104
Rating:  NA (explicit enough for NC-17, artistic and dramatic film for adults, not considered pornographic)
Companies:  Samuel Goldwyn, Orion Pictures
Link:  official

(Posted: Friday, October 20, 2017 at 7:45 PM EDT)

Piano recital by Christopher Schmitt features Beethoven, Rachmaninoff, Ravel

Pianist Christopher Schmitt gave a piano recital at the First Baptist Church of the City of Washington DC on Sunday, October 15, 2017.

The concert started with the Piano Sonata #26 in E-flat Major, Op 81a, “Les Adieux”.  The three movements are Levewohl (Farewell), Abwesenheit (Absence), Das Wiwrdersehen (Reunion).

Psychologically, the sonata purports to depict the departure of a particularly valued friend from one’s life, the absence, and a perhaps unexpected return, to see what has happened.  This was an issue at earlier periods in my own life.  The sadness goes away, the friend is more magnificent than ever. But the trap of upward affiliation continues.

Schmitt emphasized dynamic and tempo contrasts.  The slow passages (like the introduction) were really largo.

Next Schmitt played two etudes (Op. 33 #5 in E-flat minor and Op. 39 %8 in D Minor) by Rachmaninoff (both sounding late and a bit mod, like the Symphonic Dances, perhaps), and the melodic Prelude #4 in D from Op. 23.

The finale and featured work as “Gaspard de la Nuit” by Maurice Ravel, about twenty minutes, three movements: Ondine, Le Gibet, Seabo,  Very impressionistic indeed, without much pretense of drama or emotional body.

(Posted: Monday, Oct. 16, 2017 at 10 PM EDT)

“Human Flow”: Ai Weiwei’s panorama of the worldwide refugee crisis

Ai Weiwei is known for his work for the 2008 Olympics in Beijing and then for his subsequent troubles with Chinese authorities over dissent (the subject of more than one film).

His “Human Flow” is a monumental and lengthy (140 min) collage of refugee experiences all over the world.  The film starts with a shot over water reminding one of a similar shot in “The Master” (2012), leading to presentation of refugees on flotillas across the Mediterranean.

The film soon shows us long shots of refugee camps in Iraq, Jordan, Thailand, Bangladesh  Turkey, Kenya, Greece, and even farther north in Calais (which gets dismantled).

There’s a scene in Turkey where the people first look like ants from above until the drone camera gets closer.  There’s a scene inside a hangar in Germany where families like in cubicles.

Some of the most stunning footage occurs around Mosul, with the oil fires deliberately set (like the 1992 “The Fires of Kuwait”).

Near the end of the film the expected scenes along the US Mexico border appear.

Ai Weiwei often appears in many scenes, assisting individuals personally.

The film does not go into detail into the programs that countries have to house refugees in regular apartments and have sponsorship with regular families (as in Canada), and it doesn’t get into the difference between asylum seekers and refugees.

The film, at the end, does comment on global wealth inequality, climate change, and that people with different personal and communal cultures will have to learn to live together on one climate.

US-Mexico border Wiki picture.

Weiwei biographical history.

Review of “Ai Weiwei: The Fake Case” (2014).

Review of “Ai Weiwei: Never Sorry” (2012)

Name: Human Flow
Director, writer:  Ai Weiwei
Released:  2017
Format:  1.85:1
When and how viewed:  Landmark E-Street, 2017/10/14, near sellout
Length:  140
Rating:  PG-13
Companies:  Amazon Studios original film, Participant Media, AC Films
Link: Hollywood Reporter director QA 

(Posted: Sunday, Oct. 15, 2017 at 10 AM EDT)

“The Death and Life of Marsha P. Johnson”: amateur sleuths delve into a possible homicide of a gay icon from Stonewall

The Death and Life of Marsha P. Johnson”, by David France (“How to Survive a Plague”, 2012), is a valuable account of a citizen investigation of the 1992 death of Marsha P. Johnson, a drag queen who had been on the scene of the first night of the Stonewall rebellion in June 1969.

Marsha had drowned in the Hudson River near one of the Christopher Street piers. Had she been fleeing an attacker, then the death would be a homicide, at least manslaughter.

In modern times, Victoria Cruz tries to do a gumshoe citizen investigation of the death, with the help of local activist organizations for poor people.  She is rebuffed by retired cops who say not to call again, and that she should leave her investigations to the professionals or she could get people killed.

There are scenes in the Village, especially Julius’s on W 10th Street, one of my own favorite gay bars, known for its burgers.  The way “Mafia” bars had worked in the 1970s, at the time of Abe Beeme, comes up, but I had thought that by even 1992 the Mafia was pretty much out of the gay bar area (Stonewall had given a big push).

There is a great scene of the 1973 CLSD in New York, in which I marched;  I may have spotted my younger self for  split second.

Sylvia Rivera gives a very radical speech in Washington Square Park, blaming middle class establishment “cis male” gays as part of the privilege problem, even back in the 1970s (before AIDS).

There is a sequence where homeless tents are broken up for a new high way, and one of the volunteers offers “radical hospitality” to a homeless person, taking the risk.

The film purports to address violence against transgender people, but Marsha herself was not regarded as trangender (cross-dressing alone is not).

There has been controversy over the Stonewall Inn as a national monument with a rainbow flag in the Trump administration, Washington Post story by Juliet Eilperin and Darryl Fears.

This film is opening in Los Angeles Oct. 13.

Name:  “The Death and Life of Marsha P. Johnson”
Director, writer:  David France
Released:  2017
Format:  1.78:1
When and how viewed:  Netflix instant play, 2017/10/12
Length: 105
Rating:  NA
Companies:  Netflix
Link:  Facebook, Tribeca 

(Posted: Friday, October 13, 2017 at 12 noon EDT)

“The Mountain Between Us”: The wilderness airplane crash survival gets painful, but the love story is silly

The Mountain Between Us”, directed by Hany Abu-Assad (based on the novel by Charles Martin), is mostly a survivor-in-wilderness piece, like “Cast Away” (2000, by Robert Zemeckis with Tom Hanks as “Wilson:) and “127 Hours” (by Danny Boyle, where James Franco plays trapped hiker Aron Ralston amputating his own arm when trapped).  Remember also “The Life of Pi” (2012, by Ang Lee) where a teenage boy trains and tames tiger Richard Parker on a raft at see.  And there is Sean Penn’s tragic “Into the Wild” (2007) with Emile Hirsch (“just living”).  Maybe 85 of the 112 minutes are taken with this 2-person drama, which sounds like it could get tedious.

Ben (Idris Elba), a doctor,  and Alex (Kate Winslet), a photojournalist), suddenly decide to ride a private charter in the mountains when commercial flights are canceled. Alex has to get to her wedding in Denver. The pilot’s very smart dog accompanies them. When the pilot (Beau Bridges) has a stroke and dies, the plane crashes high in the mountains.

There follows the extended survival story, which moves along faster than one expect. While Ben is scouting, Alex survives an encounter with a cougar (which probably would not attack humans in real life) and they wind up roasting the cat as food. Eventually they get the courage to go down the mountain and find an abandoned cabin.  Despite both having serious injuries, they’re able to start a  and consummate a romance (interracial) , somewhat predictable.

The dog discovers a nearby logging camp.  Ben steps on a fur trap, but the dog leads Alex to the camp and they are rescued.  (in the movie “The Artist” a dog plays a similar role in one scene.)

The film has a twenty minute epilogue in London and New York about the romantic implications of the whole event, which seems rather silly, but it does explain the title of the film.

The novel appears on Amazon Create Space.

The film appeared in Toronto ad Venice film festivals,  Oddly, it was picked up by 20th Century Fox as a main brand release rather than Fox Searchlight, despite the indie feel of the film.

Panorama Mountain Village, British Columbia (wiki), actual filming location.

NBC Dateline ran an episode “Into the Wild” about the self-rescue of a female teenage pilot who crashes in the Big Horn Mountains in Wyoming, review here.

(Picture: High Sierras, CA, in 2012, my trip.)

Name:  “The Mountain Between Us”
Director, writer:  Hany Abu-Assad
Released:  2017
Format:  2.35:1
When and how viewed:  Regal Ballston Quarter, 2017/10/11, late, only 2 people in audience
Length:  112
Rating:  PG-13
Companies:  20th Century Fox, Fox 2000
Link:  official

(Posted: Thursday, Oct. 12, 2017 at 11:30 PM EDT)