Aurelia Butler

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    Taylor Swift Fans Get Married at Her ‘Eras’ Tour

    René Hurtado was able to snag front-row seats to the second night of Taylor Swift’s tour — and it was there that she married Max Bochman.Ask René Maria Avalos and Maxwell P Bochman why they chose to get married on March 18, and their answer is simple: “Taylor chose for us.”In November 2022, when tickets (rather infamously) went on sale for Taylor Swift’s Eras Tour, the bride, a self-described “die-hard Swiftie” who goes by René Hurtado, got lucky, snagging four front row seats (for about $1,000 each) for the second show on March 18 in Glendale, Ariz. — about 20 miles from Tempe, Ariz., where the couple lives. Moments later, the Ticketmaster site crashed. (A Senate hearing and lawsuits followed.)Tickets in-hand, the couple thought they might elope during the day and then attend the concert as a kind of reception. A friend upped the ante: “She said, ‘Why don’t you just get married at the show?’” said Ms. Hurtado, 30. “I thought it was crazy at first, but then I thought, why not?”The couple first met in the summer of 2014. Ms. Hurtado was selling Ghirardelli chocolate chip cookies in the stands at the Stockton Ports baseball stadium (now known as Banner Island Ballpark) in Stockton, Calif., while earning her bachelor’s degree in geology at the University of the Pacific. Mr. Bochman, who goes by Max, was working in stadium operations, his first job after graduating from the University of Massachusetts Amherst earlier that year.“I remember when I first saw her working there — I talked to one of my co-workers and I was like, ‘I need to meet her,’” Mr. Bochman, 32, said.They hit it off over drinks with co-workers, and two days later, had their first official date at an Italian restaurant. “We knew immediately that we were very important to each other,” she said. Within three weeks, he was meeting her mother. Four months later, she flew to Taunton, Mass., to spend Christmas with his family.[Click here to binge read this week’s featured couples.]Rene HurtadoBoth love sports and rap music, and share a similar sense of humor. They also agreed that Northern California didn’t feel right to them, so in 2018, they moved together to Arizona. On the drive down, Mr. Bochman received a job offer as an account manager at Barton Associates, a medical staffing and recruiting company based in Massachusetts, where he still works today.On Sept. 6, 2021, after seven years together, Mr. Bochman proposed at sunset to Ms. Hurtado, who is a workplace operations manager at Flare, a client-attorney software start-up based in San Diego, on South Mountain in Phoenix.On March 17, the opening night of the Eras Tour and the eve of their wedding, Ms. Hurtado wrote down all the songs Ms. Swift played in preparation for the next night. “Right after ‘All Too Well,’ she goes to costume change,” Ms. Hurtado said. “So we knew that was the best moment.”When the next evening arrived, the couple was joined by two friends, Alicia Witmer and her fiancé, Josh Wineriter. Ms. Witmer, who was ordained for the occasion by the American Marriage Ministries, served as officiant and maid of honor.The groom wore a black tuxedo, and the bride wore a midi-length white satin dress and a mid-length veil. They both topped their outfits with a crucial accessory: an Eras Tour V.I.P. pass on a lanyard, which was included in the steep ticket price. (The V.I.P. package includes early entrance and separate merchandise stands.)When Ms. Swift disappeared from view mid-show for the costume change, as well as a set change from the “Red” era to the “Folklore” era. Ms. Witmer started reading the vows from her phone, and the couple exchanged rings and a kiss. The whole ceremony took about three minutes.“At first, none of the fans around us really knew what was going on, but after our first kiss, everyone burst into cheers,” Ms. Hurtado said. “They really did create that moment for us by their support.”Ms. Swift didn’t seem to know what had happened, but a couple of songs later, someone from the stage team came up and handed them one of the singer’s guitar picks. The next day, Ms. Swift liked an audience member’s TikTok video of the wedding. A “Good Morning America” appearance followed, and the bride’s own TikTok post has gone viral.The couple is planning a larger wedding for 2024, one you don’t need an impossible-to-get ticket to attend, with a soundtrack full of their favorite Taylor Swift tunes.Mr. Bochman said he has never considered himself a Swiftie, even though “it’s the music that is always playing in my house.” Is he a fan now? “Yes, I think I have to be after she sang at my wedding.” More

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    ‘Passion’ Review: Friends Fall Apart

    Belatedly making its U.S. debut, a 2008 film from Ryusuke Hamaguchi (“Drive My Car”) offers new insights into his abiding themes and sensibilities.The director Ryusuke Hamaguchi’s latest film to premiere in U.S. theaters, “Passion,” is also one of his oldest — a confident if uneven new piece of 15-year-old context for one of cinema’s most acclaimed contemporary auteurs, whose “Drive My Car” last year earned the Oscar for best international feature.Never before released in the United States, “Passion” (2008) is Hamaguchi’s second feature, his student thesis from his time in Tokyo film school. (His first was a remake of Andrei Tarkovsky’s art-house landmark “Solaris”; no one can accuse Hamaguchi of lacking ambition.) Like certain influential early career films that preceded it — Barry Levinson’s “Diner,” Lawrence Kasdan’s “The Big Chill” — “Passion” has a low-fi, hangout feel, flush with the youthful indie energy and forgivable pretensions of an artist who believes that filmmaking matters. Hamaguchi is still a student but already finding his voice.The plot is likewise loose, literary: A group of young academics and professionals reunite to discover their lives are growing apart. When Kaho (Aoba Kawai, heartbreaking) and Tomoya (Ryuta Okamoto) announce their engagement, the group’s many internal love affairs, past and present — a love hexagon, give or take a side — begin to roil their little group’s surface cohesion.In “Passion” we see marks of the artistic sensibilities and preoccupations that characterize Hamaguchi’s later films like “Car” and “Asako I & II” (2018): the intimate close-ups; the philosophical musings; the unbiased compositions; the themes of betrayal, compromise and need. We also see shared flaws: the indulgent run-time, the occasional overwriting and lapses in tone. I’ll take those minor flaws in exchange for what, in hindsight, signaled the emergence of a serious artist.PassionNot rated. In Japanese, with subtitles. Running time: 1 hour 55 minutes. In theaters. More

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    ‘Personality Crisis: One Night Only’ Review: New York Droll

    David Johansen, once the lead singer for the New York Dolls, proves a first-rate raconteur in this documentary co-directed by Martin Scorsese and David Tedeschi.When David Johansen’s alter ego, Buster Poindexter, swings into “Funky but Chic” early in “Personality Crisis: One Night Only” — a documentary co-directed by Martin Scorsese and David Tedeschi — a viewer should consider herself primed for a droll and cheeky evening. A first-rate raconteur, Johansen — wearing a pompadour, sunglasses and bespoke suit — brings the funk. The storied Café Carlyle delivers the chic. The song was the first single Johansen released after having been the lead singer of the iconic 1970s band the New York Dolls.In January 2020, Johansen celebrated his 70th birthday with a cabaret show at the Carlyle. And the film treats that happening as a hub as it ventures into a rich visual archive of Johansen’s (and New York City’s) renegade past and his ruminative present. Interviews with the boundlessly inquisitive artist, conducted by his stepdaughter Leah Hennessey, are intercut with the performance and Johansen’s vagabond history, which includes fronting the Harry Smiths, named for the Chelsea Hotel denizen who compiled the “Anthology of American Folk Music” album that put a spell on so many.The cinematographer Ellen Kuras captures the singer and his terrific ensemble, the Boys in the Band Band, with suave fluidity. Downtown luminaries including Debbie Harry of Blondie are among the assembled.In clips of the New York Dolls performing “Personality Crisis,” Johansen belts and the late Johnny Thunders’s guitar rattles. In addition to Thunders, the Dolls Sylvain Sylvain, Arthur Kane, Billy Murcia and Jerry Nolan have died. Johansen is mindful of his ghosts — there are many. Yet to quote Sondheim’s battered and triumphal tune, a standard at cabarets like Café Carlyle, Johansen’s still here.Personality Crisis: One Night OnlyNot rated. Running time: 2 hours. Watch on Showtime platforms. More

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    Spotlighting Lady Macbeth’s Anguish: Can What’s Done Be Undone?

    With radical adaptations of Verdi’s “Macbeth” and Puccini’s “Tosca,” Heartbeat Opera shows why it’s so vital to New York’s music scene.Heartbeat Opera, a small, nimble company that has received its share of plaudits over the years, is on the cusp of a milestone birthday: its 10th. But there was a time recently when it didn’t know whether it could go on, its artistic director, Jacob Ashworth, said.Speaking from the stage after opening night of Heartbeat’s two-part spring festival on Tuesday, Ashworth said that the departure of the company’s founding artistic directors during the pandemic put its future in doubt.On the evidence of the new, radical reconceptualizations of Puccini’s “Tosca” and Verdi’s “Macbeth” — Heartbeat’s first mainstage shows since 2019, which opened this week at the Baruch Performing Arts Center — the company hasn’t skipped a beat.Taken together, the operas demonstrate the strengths that make Heartbeat so vital to New York’s opera scene. “Lady M,” an utterly original recreation of Verdi’s opera that places Lady Macbeth’s doubts and moral quandaries at its center, is an astonishing display of the company’s musical imagination, theatrical instincts and intellectual firepower. “Tosca,” more ambitious but less successful, shows how Heartbeat, agile and daring, can quickly align with an issue as urgent as the women’s rights movement in Iran, where uprisings in the fall captured international attention.A scene from “Lady M,” with Algozzini and Kenneth Stavert as Macbeth.Russ Rowland“Lady M” is Heartbeat at its best. The production’s director, Emma Jaster; its music director and arranger, Daniel Schlosberg; and its original adapters, Ashworth and Ethan Heard, have reoriented the audience’s point of entry into one of Verdi’s most distinctively colored scores, trimming the length, the orchestrations and the list of characters to reveal the work’s core. Macduff, the chorus, Macbeth’s big Act IV aria — all scrapped.In typical stagings, Lady Macbeth comes across as an unsubtle, unrepentant harridan whose abrupt crisis of conscience in the opera’s final act stretches credulity. The soprano role offers a string of marvelous set pieces — a hell-raising letter scene, a chaotic drinking song, a spellbinding sleepwalking scene — but they rarely form a coherent arc.Heartbeat starts with Lady Macbeth’s breakdown as the essential truth of her character and then molds the narrative to fit it. The show begins with Lady Macbeth in bed, sobbing uncontrollably, full of remorse for all the blood she has helped to shed. Her crying is so relentless that Macbeth, irritated and unmoved, gets up to go sleep on the couch. Then, the action flashes back to the score’s beginning, in which Macbeth — often treated as a weak-willed hero buffeted by supernatural forces and a monstrous wife — appears as a cool, calculating, sociopathic yuppie handing out his business card to members of the audience. The witches prophecy that he will climb the corporate ladder.In Heartbeat’s telling, Lady Macbeth, no longer the scapegoat for her husband’s foul behavior, is the one who is led astray by an avaricious spouse. The Macbeths’ desire for public glory finds an outlet in the hollow vanities of social media, represented throughout the show by a ring light, its bright cast a reminder of manipulated reality rather than truth.As Lady Macbeth, Lisa Algozzini charted the gradual degradation of a woman forced to reflect her husband’s ambitions back to him. Her “La luce langue” — haunted, fearful and quivering with uncertainty — became an elegy for people that she and Macbeth had not yet murdered, and “Una macchia” had a raw guilt to it. Algozzini simplified the cabaletta in the letter scene and skipped the high D flat in the sleepwalking scene, but her performance was still filled with gripping details. Kenneth Stavert, as Macbeth, showed a bright, open baritone sound that had depths of strength and propulsion.Schlosberg, with the vision of a master sculptor, chipped away at Verdi’s score to reveal new contours and continuities in the music and action. He didn’t so much reduce Verdi’s orchestration as reinvent it for an ensemble of six musicians (including himself as conductor and pianist). Samuel George’s trombone playing was jauntily demonic and, in its brief imitations of a French horn, somehow noble. Paul Wonjin Cho’s wild, soused clarinet solo in the drinking song injected instability into a predictable aria form. At one point, the percussionist Mika Godbole bowed a vibraphone to make it sound like a glass harmonica. They played like a band possessed, and the use of electronics added an otherworldly texture bubbling with disruption. It was flat-out brilliant.Anush Avetisyan and Chad Kranak in “Tosca,” set in an unnamed religious dictatorship that requires women to wear hijab and abide by stringent social norms.Russ RowlandThe orchestrations for “Tosca” never quite rose to that level. Schlosberg started with an unassailable idea to feature three cellos and a double bass — a nod, probably, to the famous cello quartet in Act III — but despite the handsome string playing, the instrumentation was too bare to deliver the score’s romance.“Tosca” had one of those Heartbeat concepts that lends itself to a zeitgeist-y epithet, along the lines of its Black Lives Matter “Fidelio” in 2018 and a #MeToo “La Susanna” in 2019. But the depth and ingenuity of the company’s engagement consistently erases any suspicion of topical opportunism.Staged by the Iranian American director Shadi G. and adapted by her in collaboration with Ashworth, “Tosca” had a show-within-a-show structure. They set Puccini’s opera — a melodrama roiled by sex, murder and the abuse of power — in an unnamed religious dictatorship that requires women to wear hijab and abide by stringent social norms. Even the ushers and musicians wore head scarves. We see a cast of singers staging a traditional production of “Tosca,” set in Rome, under the watchful eye of security forces and morality police, who stalk the edges of the stage and take note of the performers’ violations of the country’s moral code.Shadi’s framing introduced a fresh sense of danger. At one point, the police drag the actor portraying Cavaradossi (the tenor Chad Kranak) offstage and beat him. He desperately lunges back onto the stage only to be clawed back into the wings. It was harrowing to watch.Still, the staging could feel forced and, at times, risible, as security forces popped up, Whac-a-Mole style, in unexpected places. The singers — including Anush Avetisyan (a Tosca with a dark-hued voice), Gustavo Feulien (an elegantly underplayed Scarpia) and Joseph Lodato (a vocal standout as Angelotti) — brought a sense of scale and subtlety to their assignments that suited Baruch’s black box theater.In a way, “Lady M” expresses a more compelling sense of displacement. In its final minutes, Lady Macbeth and the witches sang the refugee chorus. As a choice it felt unusual, then somehow inevitable. Here was a woman mourning a homeland that wasn’t gone but still unavailable to her, because she had lost her way — proof, if any were needed, that Heartbeat certainly hasn’t. More

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    ‘Hilma’ Review: An Artist With Spirit

    The film gets off to a rough start, but the director wins the audience back with his sincere connection to the artist Hilma af Klint.Before production started on his guilelessly charming biopic “Hilma,” about the mystical artist Hilma af Klint, the Swedish filmmaker Lasse Hallstrom insisted on a séance to meet his subject. The painter, who died in 1944, believed that spirits guided her to create symbols which, when mounted together, would illustrate an energy map of the universe.In her lifetime, af Klint was seen as a kook — and her occult work was barely seen at all. Before she died, she stipulated that her paintings remain hidden for another two decades. Though she was painting abstract canvases before Wassily Kandinsky or Piet Mondrian, af Klint’s eye-popping color combinations didn’t emerge until the moment Mary Quant could have slapped them on a minidress.“Hilma” likewise gets off to a rough start. Hallstrom’s script is inked in simplistic lines. It’s a humorless caricature of period-piece conventions, complete with heavy-handed depictions of sexism — “That girl, she paints — paints!” The classic telltale cough of doom arrives courtesy of her younger sister Hermina (Emmi Tjernstrom), whose death kick-starts the artist’s fixation on the great beyond.Yet, Hallstrom wins the audience back with his sincere connection to af Klint, played in her bullheaded youth by his daughter, Tora Hallstrom, and in her muttering years by his wife, Lena Olin. He and the cinematographer Ragna Jorming challenge themselves to see through af Klint’s eyes, animating her overpowering images of spirals and lines until they swirl around her body. Some visual experiments work, like lingering shots of a raspberry’s geometry or a flayed horse’s veins. Others are merely odd, like when he intermittently manipulates footage to look like an early silent film.What emerges is a softly supernatural story about a futurist who behaved as selfishly as any retrograde male genius. The narrative thrust comes from af Klint’s insensitivity toward her fellow female artists in the theosophic collective, The Five, particularly her lover and patron, Anna Cassel (Catherine Chalk). Hallstrom credits that insight to his beyond-the-grave conversation with af Klimt. Believe him or not, the emotions onscreen have true power.HilmaNot rated. Running time: 2 hours. In theaters. More

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    ‘Rare Objects’ Review: A Woman Under the Influence

    Actors are given a long and generous leash in this sometimes compelling, sometimes tepid drama about mental illness from Katie Holmes.For long stretches of its two-hour running time, “Rare Objects,” a story of recovery and addiction based on Kathleen Tessaro’s novel of the same name, is a heavy, somewhat slow-moving drama that seems perhaps better suited to the stage.Julia Mayorga stars as Benita, a young woman recently discharged from a mental institution, who is slowly and carefully putting her life back together, one day and one paycheck at a time. She talks at length about her life with her loving but critical mother (Saundra Santiago); gets a low-paying but honest job at an esteemed antique dealer, where she receives compassionate treatment from the owners, Peter (Alan Cumming) and Ben (Derek Luke); and makes fast friends with Diana (Katie Holmes), an incredibly wealthy heiress whom she met at the hospital.“Rare Objects” proceeds sluggishly, and a bit ponderously, as characters take on a staid air and say things that mean little but sound deep, like, “Some people need to be seen before they can hear.” Holmes is a generous but indiscriminate director of actors: She has the tendency, not uncommon among actors turned directors, of extending a cast of inconsistent talent a degree of latitude better reserved for the heaviest hitters. (She doesn’t have this problem with her own performance, which is both compelling and well-situated in the context of the film.)At times, the style of the movie gets in the way of the simple effects of the drama — a couple of pointlessly showy long takes add nothing and are a distraction — while a few baffling creative decisions threaten to spoil the good elsewhere. Cumming has a particularly moving scene in which he grieves the anniversary of the death of a lover over a boozy dinner — a scene very nearly ruined by the inexplicable choice to surround him with multiple empty martini glasses, something no restaurant on earth would do.Rare ObjectsRated R for strong language and mature themes. Running time: 2 hours 3 minutes. In theaters and available to rent or buy on most major platforms. More

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    ‘Suzume’ Review: Gods, Spells and Instagram Posts

    Makoto Shinkai’s latest animated film, about a girl who accidentally unleashes chaos over Japan, is at once mythical and thoroughly modern.Makoto Shinkai is often praised as a descendant of the great Hayao Miyazaki for his masterly animation, and his latest film, “Suzume,” is no exception. The film speaks the same cinematic language, employing an ethereal, emotive color palette that enlivens every splash of water and blade of grass.You can spot Miyazaki’s influence in more than just the visuals. There are familiar symbols and themes: The portal doors, the cursed male hero and a few narrative moves in the resolution all scream Miyazaki’s “Howl’s Moving Castle,” while the exploration of memory and grief mirrors his “Spirited Away.”I’ll stop the Miyazaki comparisons there because Shinkai showcases plenty of his own narrative and directorial signatures in “Suzume.” He’s created a thoroughly modern world of both old and new forms of magic, of spells and old gods and of Instagram posts and texts. Like a locomotive chugging uphill, the story’s stakes are quickly raised to the scale of natural disasters and mythical phenomena, while Shinkai puts an emphasis on specific towns and regions in Japan, grounding us in the real world even as he whisks us away to other worlds.What’s particularly exciting in “Suzume” is the story’s start. Seventeen-year-old Suzume wakes up from an otherworldly dream and heads off to school. On the way, she encounters and tries to follow a mysterious stranger named Souta but ends up in the ruins of an old resort, where she stumbles upon a free-standing door floating in a shallow bank of water. She opens it, and soon flaring wind, flying debris and massive red tendrils reach out and consume the darkening skies of Japan. This is only 10 minutes in. Shinkai doesn’t give you a chance to gauge your interest in its story; he immerses you immediately in the movie’s mythos and spells so that you have no choice but to offer your attention.At the ruins, Suzume finds out she has unwittingly released a cute but troublesome cat-god that Souta calls the keystone, which caused the door to unleash a monstrous earthquake-causing beast beneath Japan. Souta is a “closer,” someone who finds and shuts doors to prevent such destruction — but the keystone has transformed him into a sentient three-legged chair to prevent him from completing his mission. Suzume must then help Souta in an odyssey across Japan, making new friends while the two race to stop a catastrophic equivalent to the 1923 Great Kanto Earthquake.It’s not just the drama that works. Shinkai delivers hilarious physical comedy in the awkward gambols and leaps of Souta the three-legged chair — a refreshing reversal of the trope of the handsome young love interest who leads the naïve girl on a journey. Shinkai is nothing if not a sentimental director, but here, instead of making the flirtation between Suzume and Souta the film’s emotional crux, thankfully he focuses in on the relationship between Suzume and her mother, a nurse who died in the aftermath of an earthquake when Suzume was 4.Though the film does work as a metaphor about growth and loss, it never elaborates the rules of its world, which detracts from the narrative. The film, like Shinkai’s last, “Weathering With You,” can’t decide if it wants to be an outright climate change parable or just a fictional story that references real climate disasters. Inspired by the 2011 Tohoku earthquake and tsunami, “Suzume” doesn’t fully square its mythology with those real environmental tragedies — or with humanity’s accountability in the inevitable monstrous acts of the natural world — and what this all means for the film’s plot and resolution. Unclear character motivations and murky magical logistics raise more questions than provide answers.Which is what makes “Suzume” a fascinating, frustrating film. It doesn’t fulfill the promise it made in that truly stellar first act: to launch us into an adventure that crosses regions and planes but lands us steady back on our feet.SuzumeRated PG. In Japanese, with subtitles. Running time: 2 hours 2 minutes. In theaters. More

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    ‘Wild Life’ Review: Their Land Is Our Land

    This documentary looks at the efforts of Kristine McDivitt Tompkins and Douglas Tompkins to preserve stretches of land in Argentina and Chile.“Wild Life,” the latest eco-conscious documentary from the filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin (“Free Solo,” “Meru”) is a rickety helicopter tour of a fascinating marriage; nearly every scene makes you want to stop and explore in more detail. Things move fast with barely a beat of introduction. Those unfamiliar with the American philanthropists Kristine McDivitt Tompkins and her husband, Douglas Tompkins, may feel in the film’s opening minutes as disoriented as if they’ve been dropped in the wilderness. One catches on that the Tompkins purchased a lot of it: more than one million acres in Argentina and Chile, with the goal of gifting the land back as recognized national parks. The scale of the couple’s ambition teeters on the surreal. Asked in archival footage about a massive snow-flocked volcano on the horizon, Doug casually replies, “Yeah, that came with it.”The film doesn’t do much besides pair snippets of the Tompkins’ biographies with staggeringly beautiful shots of Patagonia’s natural splendors. An early effort to structure the running time around Kris’s first summit of a mountain named in her honor by her husband, who died in 2015, unspools clumsily and is eventually set aside. Chin, a climber himself, joined Kris on the trek and must have decided the footage was less interesting than the story that brought her and Doug to Chile in the first place — an unusual adventure in 20th-century capitalism that begins in 1968 with Doug and his friend Yvon Chouinard embarking on a nine-month van expedition through South America and returning home to each start apparel companies: one would found Esprit; the other, Patagonia.These two mountaineers on the precipice of great wealth were also free-spirited “dirtbags,” a word Chin uses with reverence. Yvon doesn’t disagree, explaining, “If you want to understand the entrepreneur, study the juvenile delinquent.” Yvon would soon hire a teenage Kris to work at Patagonia as an assistant packer; she rose to become chief executive. In her 40s, Kris met and married Doug, completing the loop.Chin and Vasarhelyi, married themselves, understand the unity and isolation couples experience when spurred by a shared goal. The details of negotiating this staggering land donation with Chile’s former president Michelle Bachelet include a moment of suspense that’s hard to follow. (The filmmakers seem too shy to ask questions about costs and legal clauses.) But what is clear is the Tompkins’ twin passions for nature and romance, which merge in the metaphors Kris uses to describe her husband’s effect on her life: “You get hit by lightning,” she beams, adding later, “Once, I was a pebble in a stream. Not anymore.”Kris and Doug’s moving love story should be the emotional foundation of the documentary, but it’s edited in a bit too late. Paradoxically, however, we also crave more scenes of their individual transitions from bohemians to business titans. We’re tantalized by a glimpse of Patagonia meetings held barefoot and cross-legged on the corporate carpet, an allusion to Yvon and Doug’s competition to run the most ethical company (though there’s no need for the klutzy needle-drop of the Tears for Fears hit “Everybody Wants to Rule the World”), and a hasty mention of Doug’s efforts to course-correct the environmentally destructive fast-fashion industry with a 1990 Esprit advertisement asking mall rat teenagers whether their clothes are “something you really need.” I’d watch a real-time documentary on just that next board meeting.Wild LifeRated PG-13 for brief strong language. Running time: 1 hour 33 minutes. In theaters. More