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      The Man Reimagining Disney Classics for Today’s World

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      Sean Bailey is in charge of live-action remakes of films like “The Little Mermaid.” It’s a job that puts him in the middle of a partisan divide.For more than a decade, Sean Bailey has run Disney’s animated film “reimagining” factory with quiet efficiency and superhero-sized results. His live-action “Aladdin” collected $1.1 billion at the box office, while a photorealistic “The Lion King” took in $1.7 billion. A live-action “Beauty and the Beast” delivered $1.3 billion.Disney likes the cash. The company also views Mr. Bailey’s remake operation as crucial to remaining relevant. Disney’s animated classics are treasured by fans, but most showcase ideas from another era, especially when it comes to gender roles: Be pretty, girls, and things might work out.The reimaginings, as Mr. Bailey refers to his remakes, find ways to make Disney stories less retrograde. His heroines are empowered, and his casting emphasizes diversity. A live-action “Snow White,” set for release next year, stars the Latina actress Rachel Zegler as the princess known as “the fairest of them all.” Yara Shahidi played Tinker Bell in the recent “Peter Pan and Wendy,” making her the first Black woman to portray the character onscreen.“We want to reflect the world as it exists,” Mr. Bailey said.But that worldview — and business strategy — has increasingly put Disney and Mr. Bailey, a low-profile and self-effacing executive, in the middle of a very loud, very unpolite cultural fight. For every person who applauds Disney, there seems to be a counterpart who complains about being force-fed “wokeness.”Many companies are finding themselves in this vise — Target, Anheuser-Busch, Nike — but Disney, which has a powerful impact on children as they are forming life beliefs, has been uniquely challenged. In this hyperpartisan moment, both sides of the political divide have been pounding on Disney to stand with them, with movies that come from Mr. Bailey’s corner of the Magic Kingdom as prime examples.Consider his remake of “The Little Mermaid,” which arrived in theaters two weeks ago and cost an estimated $375 million to make and market. The new version scuttles problematic lyrics from the 1989 original. (“It’s she who holds her tongue who gets a man.”) In the biggest change, Halle Bailey, who is Black, plays Ariel, the mermaid. Disney has long depicted the character as white, including at its theme parks.The casting of Halle Bailey as Ariel in “The Little Mermaid” was met with racist commentary online.Philip Cheung for The New York TimesSupport for Ms. Bailey, notably from people of color and film critics, has been offset by a torrent of racist commentary on social media and movie fan sites. Others have blasted “The Little Mermaid” for failing to acknowledge the horrors of slavery in the Caribbean. A few L.G.B.T.Q. people have criticized Disney for hiring a straight male makeup artist for the villainous Ursula, whose look in the animated film was inspired by a drag queen.Disney has long regarded these kinds of social media storms as tempests in teapots: trending today, replaced by a new complaint tomorrow. In 2017, for instance, a theater in Alabama refused to play the live-action “Beauty and the Beast” because it contained a three-second glimpse of two men dancing in each other’s arms. It became a global news story. Ultimately, the fracas seemed to have no impact on ticket sales.The upshot? Disney hoped “The Little Mermaid” would generate as much as $1 billion worldwide, with the furor evaporating once the film arrived in theaters. Feedback scores from test screenings were strong, as were early reviews. “Alan Menken just told me that he thinks this one is better than the animated film,” Robert A. Iger, Disney’s chief executive, said at the film’s premiere last month, referring to the Oscar-winning composer.Instead, “The Little Mermaid” will top out closer to $600 million, box office analysts said on Sunday, largely because the film faltered overseas, where it was “review bombed,” with online trolls flooding movie sites with racist one-star reviews. The film has done well in North America, outperforming “Aladdin” and receiving an A grade from ticket buyers in CinemaScore exit polls, although attendance by white moviegoers has been soft in some parts of the United States, according to analysts. Support from Black and Latino audiences have made up the slack.Mr. Bailey declined to comment on the racist responses to the film. “While the international opening was softer than we would have liked, the film is playing exceptionally well which we believe sets us up for a very long run,” he said on Saturday.Mr. Bailey, 53, has survived box office shoals that were far worse, including misfires like “The Lone Ranger.” The less said about his live-action “Mulan,” the better. But Disney has always supported him. “I’ve taken some big swings and had some big misses,” Mr. Bailey said. “I’m grateful that the leadership of the company understands that is part of any creative business.”Mr. Bailey has been president of Walt Disney Studios Motion Picture Production for 13 years — an eternity in Hollywood, where film chiefs are often jettisoned every few years. Over that time, Disney has been roiled by executive firings, multiple restructuring efforts and shifting strategies for film distribution. The steady-handed Mr. Bailey, who is popular with stars and their agents, has helped provide stability.“He’s a nice, decent, respectful, fair guy who does his job quietly, without fanfare,” said Kevin Huvane, a Creative Artists Agency co-chairman. “But that doesn’t mean that he is passive. Quite the opposite. He gets his hands dirty. If a deal isn’t working, he gets in there and he finds a way to make it happen.”Angelina Jolie’s two “Maleficent” films took in a combined $1.3 billion at the box office.Disney EnterprisesIn 2014, for instance, Mr. Bailey flew to Budapest from Los Angeles at a moment’s notice to have dinner with Angelina Jolie. She had agreed to star in “Maleficent” but seemed to be getting cold feet after reading a revised script. Whatever he told her worked; “Maleficent” and a sequel took in a combined $1.3 billion.“Sean is what we don’t see often these days, and certainly not in film,” Ms. Jolie said by email. “He’s consistent, stable and decent. When we have challenges, as all films do, he is even and fair. It may not be exciting for a story, but it is what we need more of.”Disney’s live-action films did not often showcase women before Mr. Bailey arrived, and diversity was almost nonexistent. Mr. Bailey has almost exclusively focused on female-led stories. He has also championed young actresses of color — Storm Reid, Nico Parker, Naomi Scott — and female directors, including Ava DuVernay (“A Wrinkle in Time”), Julia Hart (“Stargirl”) and Mira Nair (“Queen of Katwe”).“I think what he is doing is vastly important,” said Geena Davis, an actress and gender equity activist. “It’s not just about inspiring little girls. It’s about normalizing for men and boys, making it perfectly normal to see a girl doing interesting and important things and taking up space.”“Haunted Mansion,” based on the Disneyland ride, will arrive in theaters on July 28.Walt Disney StudiosThe next film from Mr. Bailey’s division, “Haunted Mansion,” arrives in theaters on July 28 and stars LaKeith Stanfield (an Oscar nominee for “Judas and the Black Messiah”), Rosario Dawson, Owen Wilson and Tiffany Haddish. “Haunted Mansion” was directed by Justin Simien, the creator of “Dear White People,” and inspired by a Disney theme park ride.“I felt that we had an opportunity to try and create a really cool, Disney-appropriate PG-13 movie that does have some real scares but also charms and delights,” Mr. Bailey said.Mr. Bailey, who watched “The Little Mermaid” 18 times as it worked its way through Disney’s pipeline, has more than 50 movies in various stages of development and production, including live-action versions of “Moana,” “Hercules” and “Lilo and Stitch.” Yes, “Hocus Pocus 3” is happening. (His division makes two or three big-budget films annually for release in theaters and three modestly budgeted movies for Disney+.)“Mufasa: The Lion King,” a photorealistic prequel directed by Barry Jenkins, the Oscar-winning “Moonlight” screenwriter, is scheduled for release in 2024. Mr. Bailey said “The Lion King” could expand into “a big, epic saga” like the “Star Wars” franchise. “There’s a lot of room to run if we can find the stories,” he said.Restarting the five-film “Pirates of the Caribbean” series is another priority, although nothing official has been announced. “We think we have a really good, exciting story that honors the films that have come before but also has something new to say,” Mr. Bailey said. Will the franchise’s problematic star, Johnny Depp, return as Captain Jack Sparrow? “Noncommittal at this point,” Mr. Bailey said, seemingly inching the door open.One of the knocks on Mr. Bailey is that he has not created a new franchise; almost none of his bets on original movies have paid off. The sled-dog drama “Togo,” made for Disney+ in 2019, was a critical hit that failed to break out. “Tomorrowland,” an ambitious fantasy from 2015, crashed and burned. At some point, studios cannot endlessly recycle old stuff. A Xerox of a Xerox of a Xerox ends up as a blank page.“It’s really hard to crack through and get an original, hugely commercial win,” Mr. Bailey said. “We’re going to keep trying.” He pointed to a project based on “The Graveyard Book,” about a boy raised by the supernatural occupants of a cemetery.One criticism of Mr. Bailey is that he has not created an original franchise. “We’re going to keep trying,” he said.Philip Cheung for The New York TimesEvery studio has been struggling to come up with original hits. But the added glare that seems to come with any Disney effort adds a degree of difficulty.Like Mr. Iger, Mr. Bailey does not hide his political leanings. He is close to Senator Cory Booker, Democrat of New Jersey, a friendship that started in 2000, when Mr. Bailey held a fund-raiser for him in Hollywood. (Mr. Bailey has a lot of famous friends. He goes way back with Ben Affleck, helped Dwayne Johnson start a tequila brand and serves on the board of Robert Redford’s Sundance Institute.)But Mr. Bailey is in the business of making movies for everyone. That challenge is part of what keeps his job interesting, he said.“How do you deal with audiences that are changing outside our country, inside our country?” Mr. Bailey said. “How do you tell stories — stories that matter to everyone — in a world that is increasingly polarized?” More

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      Angelina Jolie Details Abuse Allegations Against Brad Pitt in Countersuit

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      In court papers related to a legal battle over a French winery they once owned together, she claims that he was abusive to her and their children during a 2016 plane ride.Angelina Jolie filed a cross complaint against her ex-husband Brad Pitt on Tuesday, disclosing new details about what she described in court papers as abusive behavior by him on a private plane in 2016 that led to the dissolution of their marriage.In a court filing in Los Angeles, filed as part of a legal battle over a winery the prominent Hollywood actors once owned together, lawyers for Ms. Jolie stated that negotiations to sell her share of the business to Mr. Pitt had broken down over his demand that she sign “a nondisclosure agreement that would have contractually prohibited her from speaking outside of court about Pitt’s physical and emotional abuse of her and their children.”Her filing goes on to describe an extended physical and verbal outburst in September 2016 as Mr. Pitt, Ms. Jolie and their six children flew from France to California. “Pitt choked one of the children and struck another in the face” and “grabbed Jolie by the head and shook her,” the filing states, adding that at one point “he poured beer on Jolie; at another, he poured beer and red wine on the children.” Federal authorities, who have jurisdiction over flights, investigated the incident but declined to bring criminal charges. Days after the plane trip, Ms. Jolie filed for divorce.Lawyers for Mr. Pitt did not immediately return several phone calls and emails seeking his response on Tuesday. In 2016, unnamed people close to Mr. Pitt were quoted in various publications saying that he had not been abusive toward his children.The decoupling of Ms. Jolie and Mr. Pitt has stretched on for years, drawn out by a court battle for custody of their children and, more recently, a lawsuit instigated by Mr. Pitt over the French winery, Château Miraval, that the couple bought more than a decade ago. Mr. Pitt’s lawsuit, filed this year, accused his ex-wife of violating his “contractual rights” when she sold her half of the company to a subsidiary of Stoli Group without his approval.Ms. Jolie’s cross complaint said she only sold her stake elsewhere after talks broke down over his demand for a nondisclosure agreement. Her filing states that the F.B.I. agent who investigated allegations that Mr. Pitt physically assaulted Ms. Jolie and their children on the plane in 2016 had “concluded that the government had probable cause to charge Pitt with a federal crime for his conduct that day.”The Château Miraval property, which is near Brignoles, in the south of France, in 2008.Lionel Cironneau/Associated PressA redacted F.B.I. report on the case, which was reported on by several news outlets in August and later obtained by The New York Times, states that the agent provided the United States Attorney’s Office “copies of a probable cause statement related to this incident.”“After reviewing the document, representative of the United States Attorney’s Office discussed the merits of this investigation with the case agent,” the report said. “It was agreed by all parties that criminal charges in this case would not be pursued due to several factors.”The F.B.I. report described Ms. Jolie as “conflicted on whether or not to be supportive of charges” related to the case.Representatives from the F.B.I. and the U.S. Attorney’s Office in Los Angeles declined to comment.“She has gone to great lengths to try to shield their children from reliving the pain Pitt inflicted on the family that day,” Ms. Jolie’s lawyers wrote in the cross complaint. “But when Pitt filed this lawsuit seeking to reassert control over Jolie’s financial life and compel her to rejoin her ex-husband as a frozen-out business partner, Pitt forced Jolie to publicly defend herself on these issues for the first time.”According to Ms. Jolie’s account of the 2016 flight in the court papers, the dispute began when Mr. Pitt accused Ms. Jolie of being “too deferential” to their children and then began yelling at her in the bathroom. “Pitt grabbed Jolie by the head and shook her, and then grabbed her shoulders and shook her again before pushing her into the bathroom wall,” the filing states. “Pitt then punched the ceiling of the plane numerous times, prompting Jolie to leave the bathroom.”When one of the children came to Ms. Jolie’s defense, the court papers said, Mr. Pitt lunged at the child, prompting her to grab him from behind. Amid the altercation, Mr. Pitt “choked one of the children and struck another in the face,” the suit said.The 2016 flight has been the subject of news media reports since shortly after it occurred. In November of that year, the F.B.I. released a statement saying that it had closed its investigation into the flight and that no charges had been filed.Puck News reported this August that Ms. Jolie had been seeking information about the F.B.I.’s case as an anonymous plaintiff in a Freedom of Information Act lawsuit, with the publication including details of the report.It is unclear whether the heavily redacted F.B.I. report included allegations that Mr. Pitt had choked or struck any of the children.Ms. Jolie and Mr. Pitt met each other on the set of “Mr. & Mrs. Smith,” a 2005 action movie in which they played married assassins. In 2008, they purchased a controlling interest in Château Miraval, viewing it as both a family home and business; several years later, the couple was married on the property.Ms. Jolie and Mr. Pitt have six children, now between the ages of 14 and 21.The French winery, known for its rosé, is at the center of a legal dispute between the divorced couple.In February, Mr. Pitt sued Ms. Jolie and her former company, alleging that she violated his “contractual expectations” when she sold her interest in the wine company to Tenute del Mondo, a subsidiary of Stoli Group. According to his lawsuit, the former couple had an understanding that neither party would sell its share of the winery without the consent of the other.“Jolie pursued and then consummated the purported sale in secret, purposely keeping Pitt in the dark, and knowingly violating Pitt’s contractual rights,” his lawsuit alleged.Last month, Ms. Jolie’s former company, which is now owned by Stoli Group, countersued Mr. Pitt, rebutting his version of events and his claim that the sale constituted a “hostile takeover.”In Ms. Jolie’s own countersuit, filed in Los Angeles Superior Court on Tuesday, she said that she opted to sell her share of the wine business, in part, because she was growing uncomfortable with participating in an alcohol-related business, considering Mr. Pitt’s “acknowledged problem of alcohol abuse.” Mr. Pitt told The Times in 2019 that after Ms. Jolie filed for divorce, he spent time in Alcoholics Anonymous and was committed to sobriety.Her filing said there was no written or verbal understanding like the one Mr. Pitt described, claiming that Mr. Pitt had, in fact, rejected the idea that there needed to be a plan in case the relationship ended.In their lawsuits, Mr. Pitt and Ms. Jolie shared divergent accounts of how negotiations around him buying her portion of the wine company fell apart.Mr. Pitt’s lawsuit asserted that Ms. Jolie pulled out of the tentative deal last year after a judge overseeing the custody dispute issued a ruling against her, prompting her to turn to Stoli Group.Ms. Jolie’s countersuit claimed, however, that Mr. Pitt had been the one to pull out of the deal after she declined to agree to his nondisparagement clause, forcing her to turn to another buyer. 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      ‘Les Éternels’: les super-franchises redescendent sur Terre

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      Après “Nomadland”, Oscar du Meilleur Film, la réalisatrice Chloé Zhao s’essaie au blockbuster avec le dernier-né des Marvel, un casting séduisant à l’appui.Tout au long des “Éternels”, le dernier-né — mais certainement pas le dernier! — des Studios Marvel, on devine combien la réalisatrice Chloé Zhao a dû lutter pour réduire à taille humaine ce show d’envergure industrielle. Ses efforts transparaissent dans la sincérité des interprétations et les moments d’authenticité qui ponctuent le film d’émotion. Mais c’est un combat titanesque. Tandis que Zhao s’applique à huiler la machine de larmes et d’émotions, ses efforts semblent refléter la bataille menée par ses attachants super-héros contre une force qui cherche à contrôler leur destin.Créés par Jack Kirby, un visionnaire des comics américains, “Les Éternels” font leur apparition sur papier en 1976 (“Quand les Dieux descendent sur Terre!”) et ont refait surface plusieurs fois depuis. Puisque Marvel a (pour le moment) mis fin au cycle des films Avengers, il était acquis qu’il allait dépoussiérer un autre groupe de potentielles super-franchises. Pour ce faire, le studio a choisi Zhao (“Nomadland”) pour lancer la machine, avec un casting trié sur le volet dans le monde du divertissement. Angelina Jolie est là, avec des cheveux tristounets et un maquillage ultra-glamour, tout comme Gemma Chan, Salma Hayek, Don Lee, Kumail Nanjiani, un indispensable Brian Tyree Henry et deux tombeurs de la série HBO “Game of Thrones”.Figurant parmi les créations moins connues de Kirby, les Éternels sont des divinités humanoïdes principalement empruntées à la mythologie grecque, mais dotés d’une orthographe excentrique : Thena, Ikaris, Sersi, et ainsi de suite. Leur histoire est bien élaborée et ils ont pour mission de protéger l’humanité. (À en juger par le piteux état dans lequel nous et la planète sommes, ils n’ont pas fait du très bon boulot.) Comme l’explique un des personnages, ils interviennent dans les conflits entre les humains en cas de nécessité. Un rôle qui évoque celui des Casques bleus des Nations Unies. Mais comme l’humanité est perpétuellement attaquée par les Déviants, de hargneux ennemis, les Éternels doivent perpétuellement redescendre dans l’arène — une habitude interventionniste qui fait référence de manière assez evidente à celle des États-Unis.Écrit par Zhao avec d’autres scénaristes, “Les Éternels” s’inscrit dans le style de la maison Marvel, tant visuellement que dans sa narration. C’est très chargé, presque trop, et on navigue entre film de guerre, film romantique, comédie et drame familial. Il se classerait plutôt bien dans la catégorie retrouvailles-entre-copains : une bande de vieux amis se retrouve — avec réticence ou enthousiasme — pour reformer leur groupe de musique ou, en l’occurrence, botter des derrières cosmiques. Malheureusement, le film consacre un part démesurée de ses deux heures et demie à revisiter les plus gros tubes du groupe, tandis que les Éternels passent leur temps en explications. Les flashbacks coupent Zhao dans ses élans et les bavardages viennent brouiller un peu davantage une histoire déjà alambiquée.En tant que potentiel premier épisode d’une nouvelle série, le film fait office de longue présentation au public où l’on passe en revue (qui sont-ils, que font-ils ?) les pouvoirs, les susceptibilités, les histoires et les relations entre ces dix Éternels. Ça fait du monde à l’affiche — mais dans cette constellation hollywoodienne, certaines étoiles brillent plus fort que d’autres. La tête d’affiche Sersi (Gemma Chan) est, un peu à contrecœur, une héroïne bienveillante qui vit à Londres et sort avec Jon Snow — alias Dane Whitman, joué par Kit Harington — jusqu’à ce que les Déviants, et les ennuis, surgissent dans cette ville vieillissante et sale. L’incursion ennemie déclenche la réunion et l’entrée en scène amusante du frère de Jon Snow, Robb Stark, alias Richard Madden, qui joue Ikaris. Lui et Sersi ont un passé ; ce n’est pas compliqué.L’immense super-pouvoir du film, ce sont ses acteurs qui lui insufflent de la chaleur, voire un peu de passion, et une pulsion de vie que les nombreuses et bruyantes scènes d’action n’étouffent jamais complètement. Henry, Lee et Barry Keoghan (le terrifiant gamin de “Mise à mort du cerf sacré”) contribuent beaucoup à maintenir notre sympathie en éveil. Phastos, le personnage d’Henry, est le plus vivant des deux, en partie parce que son super-héros a une véracité identifiable, mais surtout parce que l’acteur a un sens naturel de l’empathie et une vraie délicatesse d’expressivité. Lee offre un peu de comique bienvenu et fait office de faire-valoir étonnamment efficace pour Jolie (y aura-t-il un spin-off de M. et Mme Éternel?), tandis que Keoghan ajoute son grain de menace piquante.Les trois précédents long-métrages de Zhao sont des drames d’échelle modeste centrés sur des personnages privés de leurs droits — le genre de film que le courant commercial dominant laisse de côté. La réalisatrice aime faire appel à d’anciennes formules et à de nouvelles idées, et s’intéresse aux questions d’identité et aux valeurs fondatrices américaines comme l’autonomie. Dans “The Rider”, le personnage principal est un Amérindien qui est cowboy; “Nomadland” suit une femme, la soixantaine, qui prend la route après à la Grande Récession. Si l’intimité de son œuvre antérieure, sa portée et son calme relatifs font d’elle un choix apparemment inhabituel pour Marvel, ses films se tiennent à distance de l’ouvertement politique, comme beaucoup de films indépendants américains. Zhao cadre bien avec une entreprise internationale qui cherche à n’offenser absolument personne.Par-dessus tout, la réalisatrice possède l’une des compétences les plus essentielles au job : elle sait gérer les acteurs. Car par-delà tous les effets spéciaux et les combats sans fin, les films de Marvel sont aussi centrés sur leurs personnages que les films de James Bond, et ils ont besoin d’interprètes charismatiques et de personnalités séduisantes pour faire tenir ensemble toutes leurs pièces détachées. (Ce n’est pas un hasard si beaucoup de réalisateurs Marvel sont des anciens du festival du film de Sundance.) “Les Éternels” bénéficie aussi du toucher de Zhao pour les paysages naturels et de son amour des grands espaces. Cela n’arrive pas assez souvent mais parfois, dans certains moments d’accalmie, les Éternels et leurs mondes se rejoignent et les grandes questions existentielles qui sous-tendent l’histoire — qu’est-ce qu’on fait là, qui suis-je ? — arrivent même à transcender la marque. More

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      ‘Those Who Wish Me Dead’ Review: A Desperate Scramble to Survive

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      This thriller starring Angelina Jolie takes its time but doesn’t waste any time.I’m not sure I believed the plot for a minute of “Those Who Wish Me Dead,” but as a means of pitting righteous characters against implacable assassins in a succession of abrupt, pitiless, life-or-death confrontations, the story has a terse effectiveness. The film, based on the 2014 novel by Michael Koryta, has been brought to the screen by the writer-director Taylor Sheridan. Although he isn’t the sole screenwriter here, the film paints in the bold, primal strokes of his scripts for “Sicario” and “Hell or High Water” without getting bogged down in the sloggy self-seriousness of his previous directorial feature, “Wind River.”The movie takes its time, but it also doesn’t waste time. The main pair do not meet until almost 40 minutes in. Until then, “Those Who Wish Me Dead” patiently juggles different narrative lines. One, initially the least interesting, involves Hannah (Angelina Jolie), a daredevil smoke jumper who has had a barely veiled death wish ever since her poor judgment of forest fire winds led to the deaths of three children. (Only a movie would so quickly entrust another boy to her care, to offer a chance at redemption.) In an indication of how “Those Who Wish Me Dead” never asks to be judged on plausibility, the film twice puts Hannah in the path of lightning strikes. There is an almost comic casualness to the way she dumps antiseptic on each new wound.The movie also tracks Connor (Finn Little), the precocious son of a Florida forensic accountant, Owen (Jake Weber). Owen has discovered something that could get both of them killed. The nature of the discovery is the film’s MacGuffin — all we know is that governors and congressmen would be implicated by its disclosure, and that they are scared enough that the government (or someone government-adjacent) has hired two fixers (Aidan Gillen and Nicholas Hoult) to kill anyone with the information. (Tyler Perry, who makes a deferred entrance and appears in only one scene, plays their boss.)The hit men are introduced faking a gas line explosion to murder a district attorney; they have few qualms about killing bystanders. They are also skilled investigators who deduce that Owen and Connor have run to Montana, where Owen’s former brother-in-law, Ethan (Jon Bernthal), and Ethan’s pregnant wife, Allison (Medina Senghore), run, yup, a survival school, and where Connor will eventually meet Hannah. It’s emblematic of Sheridan’s efficiency that when Ethan the uncle and Connor the nephew finally connect, the movie doesn’t pause to have them say hello.All of this is elemental stuff, a battle between unmitigated darkness (in the form of the fast-thinking killers) and total virtue, as Hannah and Connor struggle to reach safety, then retreat, then run again, all while outwitting a forest fire that Gillen’s character has set to the distract the locals. New Mexico plays Montana, and not being familiar with the terrain, I was convinced by that. Accurate or not, the landscape gives as sensational a performance as any of the actors.Those Who Wish Me DeadRated R. Cruel and especially upsetting violence. Running time: 1 hour 40 minutes. In theaters and on HBO Max. Please consult the guidelines outlined by the Centers for Disease Control and Prevention before watching movies inside theaters. More