Max Parker Archives – CULTURE MIX

Review: ‘Juliet & Romeo,’ starring Clara Rugaard, Jamie Ward, Jason Isaacs, Dan Fogler, Rebel Wilson, Rupert Everett and Derek Jacobi

May 9, 2025

by Carla Hay

Clara Rugaard and Jamie Ward in “Juliet & Romeo” (Photo courtesy of Briarcliff Entertainment)

Directed by Timothy Scott Bogart

Culture Representation: Taking place in the 1301, in Verona, Italy, the musical film “Juliet & Romeo” (based on the play “Romeo & Juliet”) features a predominantly white cast of characters (with some black people and Latin people) representing the working-class, middle-class and wealthy.

Culture Clash: A teenage boy and a teenage girl fall in love with each other, even though their families are feuding with each other.

Culture Audience: “Juliet & Romeo” will appeal primarily to people who are fans of William Shakespeare’s “Romeo and Juliet” and the movie’s headliners, but this bland and muddled musical’s drastic change to the original story’s ending might be too much of a turnoff to many viewers.

A scene from “Juliet & Romeo.” Pictured from left to right: Sarah Lazzaro, Tayla Parx, Rupert Everett, Rebel Wilson, Clara Rugaard, Lidia Vitale, Jason Isaacs, Nicholas Podany, Max Parker and Zac Bellward. (Photo courtesy of Briarcliff Entertainment)

“Juliet & Romeo” is a musical with forgettable songs, a romance with no sizzle, and an ending with a terrible revision and tone-deaf announcement about an unwanted sequel. Everyone in this misguided flop looks like they’re doing Renaissance Faire cosplay. Without question, “Juliet & Romeo” will be ranked as one of the worst “Romeo and Juliet” movie adaptations of all time. The movie is supposed to take place in Verona, Italy, in 1301, but it looks and sounds like a Hollywood throwaway musical from 2001.

Written and directed by Timothy Scott Bogart, “Juliet & Romeo” (which takes place over the course of four days) is such a mind-numbing misfire, Juliet (played by Clara Rugaard) and Romeo (played by Jamie Ward) are only in a handful of scenes together. And when Romeo and Juliet are together, they spend most of their time being coy and talking about superfical nonsense. Not once do you believe that these two characters have such a deep connection and a burning passion for each other that they would literally die for each other, which is the famous ending of the “Romeo and Juliet” play that William Shakespeare wrote in the 1590s. And brace yourselves: Bogart has said in interviews that he conceived his “Juliet & Romeo” movies to be a trilogy.

The pop/rock songs in “Juliet & Romeo” aren’t completely terrible, mainly because talented people are singing the songs. Evan Kidd Bogart (Timothy Scott Bogart’s younger brother) and Justin Gray wrote the original songs for “Juliet & Romeo.” The problem with the songs is that they don’t have any catchy and memorable hooks. The lyrics are very bland and don’t add much to the story of Romeo and Juliet. These songs could be on any D-list pop album and you wouldn’t be able to tell that these songs were written for a movie about Romeo and Juliet.

The first scene of “Juliet & Romeo” is actually the funeral of Romeo and Juliet, who are shown embracing each other in a coffin. The funeral service is conducted by Friar Lawrence (played by Derek Jacobi), a clergyman who flip-flops during the story when it comes to his approval of Romeo and Juliet’s romance. The movie then flashes back to three days earlier and shows what happens during those three days and then shows the funeral that took place on the fourth day and what happened after the funeral.

While it’s possible that some people seeing this movie have never heard of the famous ending of “Romeo and Juliet,” by putting Romeo and Juliet’s funeral in the movie’s first scene, it ensures that this spoiler information is revealed from the start. It also shows that the filmmakers don’t have enough respect for the intended impact of the original ending of “Romeo and Juliet” because not only did they reveal this information too early in the movie, but they also used it as a cheap gimmick to fabricate a very different ending. This altered ending is as cringeworthy and superficial as the rest of the movie.

A great deal of the tragedy of “Romeo and Juliet” is because these two doomed lovers died mainly because their prominent Verona families are locked in a bitter feud and would not accept the couple’s relationship. Romeo comes from the Montague family, led by his parents Lord Montague (played by Jason Isaacs) and Lady Montague (played by Lidia Vitale), who are cold and domineering. Juliet comes from the Capulet family, led by her parents Lord Capulet (played by Rupert Everett) and Lady Capulet (played by Rebel Wilson), who are gregarious and manipulative.

Romeo also has a loyal adopted brother named Mercutio (played by Nicholas Podany), who was adopted as an orphan. Also in Romeo’s family is his cousin Benvolio (played by Max Parker), who doesn’t have a personality that stands out. Juliet has a hothead cousin named Tybalt (played by Ferdia Walsh-Peelo), who is constantly picking fights with Romeo. Expect to see many brawls and chase scenes on streets and in alleyways, as if this movie is confused and thinks it’s “West Side Story.”

Why are the Montagues and the Capulets feuding? Don’t expect this movie to give clear answers. There’s a lot of shouting and scheming about who’s going to be loyal to the government and who’s going to be loyal to the Pope. At one point, Lord Montague slaps Romeo hard in the face and snarls, “You stand with this family, or you stand alone, son.” Meanwhile, Juliet’s parents give her distress by arranging for her to be engaged to a count named Paris (played by Dennis Andres), whom she doesn’t know. Juliet finds out about this engagement before she’s even met Paris.

“Juliet & Romeo” spends way too much time on side characters. Juliet has a clique of female friends named Rosaline (played by Tayla Parx), Veronica (played by Martina Ortiz Luis) and Lilly (played by Quinn Scott Bogart) who are like a tame 1301 Verona version of the “Sex and the City” women. There’s even a “female empowerment” sextet song titled “The Mask I Wear,” where each of them gets a solo with Lady Capulet and a newly created character named Vesante (played by Ledisi), whose purpose just seems to be so Grammy-winning singer Ledisi could have a role in this movie. Too bad the song packs a punch like a limp wrist.

Mercutio is having a romance with Veronica, so the movie shows them on dates and the first time that they spend the night together. Rosaline had a thing going with Tybalt, but she loses interest in him because he’s too much of a jerk. Is this the Romeo and Juliet story, or is it a teen soap opera? And by the way: Romeo, Juliet and most of their friends in this movie look much older than the teenagers they are supposed to be.

Surprisingly, Walsh-Peelo (who’s arguably the most talented male singer in the “Juliet & Romeo” cast; see the 2016 movie “Sing Street” for proof) does not get any solo songs as Tybalt, the story’s chief villain. He’s only heard in the group song “Streets on Fire,” which also features Rugaard, Ward, Parx, Ledisi, Podany and Parker. It seems like such a waste of Walsh-Peelo’s musical talent.

Other characters in the movie include Juliet’s nurse from childhood (played by Sarah Lazzaro), who would be called a nanny in modern times, but her character is sidelined for the teen romances. There’s also an unnamed apothecary (played by Dan Fogler), who invents the fateful potion that is consumed by Romeo and Juliet. He is depicted in this movie as a “mad scientist” type who does experiments on rats. And if you waited your whole life to see this story’s friar and apothecary do a duet called “I Should Write This Down” in a musical, then “Juliet & Romeo” is the movie for you.

Juliet and Romeo meet when she is visiting Verona from France, where she has been living as a student. They flirt with each other, but she won’t tell him her name the first time that they meet. Later, when Romeo is getting chased in an alley fight by Tybalt and some of his cronies, Juliet grabs Romeo and kisses him so that his face can be obscured. We’re supposed to believe that the guys chasing Romeo suddenly forget what he’s wearing because they don’t notice Romeo kissing Juliet as Tybalt and his fighting pals run right past Romeo and Juliet.

When Juliet and Romeo kiss again in another scene, she says to him: “I can’t tell if your poetry is prose.” She pauses and says, “Poetry it is then,” as she leans into him to give him another kiss. Rugaard is a little more convincing than Ward at showing emotions, but Ward and Rugaard lack the necessary chemistry together to be believable as a legendary couple. Ward shows more passion in the fight scenes than the love scenes, which is not the way to do things in one of the most famous love stories of all time.

Some of the cast members in “Juliet & Romeo” were in Timothy Scott Bogart’s 2023 feature-film directorial debut “Spinning Gold,” a very flawed biopic of his father Neil Bogart, a record company executive who helped artists such as Kiss, Donna Summer and Parliament-Funkadelic become major stars. Parx, Fogler and Ledisi were in “Spinning Gold,” which had the cast members do their own singing when performing songs from famous artists. “Spinning Gold” and “Juliet & Romeo” have the same problems: good singing trapped in a movie with a bad screenplay and mishandled direction. And when a movie about Romeo and Juliet doesn’t have an authentic-looking romance, it’s doomed to fail.

Briarcliff Entertainment released “Juliet & Romeo” in U.S. cinemas on May 9, 2025.

Review: ‘Strictly Confidential’ (2024), starring Elizabeth Hurley, Georgia Lock, Lauren McQueen, Freddie Thorp, Genevieve Gaunt, Pear Chiravara, Max Parker and Llyrio Boateng

April 30, 2024

by Carla Hay

“Strictly Confidential”

Directed by Damian Hurley

Culture Representation: Taking place in 2022, on an unnamed Caribbean island, the dramatic film “Strictly Confidential” features a predominantly white cast of characters (with a few black people and one Asian person) representing the working-class, middle-class and wealthy.

Culture Clash: A wealthy widow summons the friends of her presumed-dead daughter for a reunion on an exotic island, and scandalous secrets are revealed during this gathering.

Culture Audience: “Strictly Confidential” will appeal primarily to people who don’t mind watching tacky movies with horrible acting and a stupid plot.

Elizabeth Hurley in “Strictly Confidential” (Photo courtesy of Lionsgate)

“Strictly Confidential” looks like a parody of a bad movie, but it’s unfortunately no joke. This horrendous drama, which has a tawdry plot about privileged people with sordid secrets, is a time-wasting failure for everyone involved. Perhaps the only saving grace for this train-wreck film is that the movie’s exotic island locations are attractive. The cast members are all good-looking people, but those good looks mean nothing when there’s a lack of talent or personality in their performances.

Written and directed by Damian Hurley, “Strictly Confidential” (his feature-film directorial debut) was literally paid for by his mother, Elizabeth Hurley, who is one of the movie’s producers and is the biggest star of this garbage film. If not for nepotism, it’s very unlikely that “Strictly Confidential” would have ever been made. “Strictly Confidential” is not a “so bad it’s funny” movie. It’s a “so bad it’s torturous to watch” movie.

In “Strictly Confidential” (which takes place in 2022), Elizabeth Hurley portrays Lily Lowell, a wealthy widow who has had a very rough past year. In 2021, her husband Thomas died, at the age of 51. Within months of his death, her daughter Rebecca (played by Lauren McQueen, seen in flashbacks), who was 21 or 22, disappeared into an ocean at their Caribbean island home and is presumed dead. Rebecca left behind an apparent suicide note. Her body was never found.

Lily lives in a mansion on this island, which is not named in the movie. (“Strictly Confidential” was filmed in St. Kitts and Nevis.) It’s implied that this mansion is one of the homes that Lily has. Lily’s other child is Rebecca’s older sister Jemma (played by Genevieve Gaunt), also in her 20s, who had a rivalry with Rebecca and seems jealous that Rebecca got more attention from their parents.

Even in death, Rebecca is still getting more attention than Jemma. Lily has decided to summon all of Rebecca’s friends who were on the island during the summer that Rebecca apparently drowned in the ocean. Lily has invited these friends to stay at the mansion for one week to pay tribute to Rebecca. Jemma tells Lily that this reunion isn’t a good idea.

Lily replies, “It’s been a year. After next week, you never have to see them again. Maybe it’ll give us some closure. God knows, we can all use some.”

Lily has enlisted Rebecca’s best friend Mia (played by Georgia Lock) to track down everyone and tell them to go to the mansion. Mia is seen in the beginning of the movie having a nightmare about Rebecca—one of several of Mia’s bad dreams depicted in the movie—because Mia witnessed Rebecca disappear in the ocean. Mia has a lot of unresolved issues about Rebecca because Mia firmly believes that Rebecca did not commit suicide. During her time on the island, Mia conducts her own “investigation” to find out what happened to Rebecca.

One by one, the people in Rebecca’s social circle gather at the mansion. Natasha (played by Pear Chiravara) is an exotic dancer who reluctantly agreed to this reunion after Mia showed up at Natasha’s nightclub workplace to invite her. Will (played by Max Parker) is the boyfriend Rebecca had when Rebecca disappeared. James (played by Freddie Thorp) is Mia’s ex-boyfriend, who is described by Will as an “intense, weird psycho.”

There are also some locals on the island who seem to be there as “tokens” in small, supporting roles. Sebastian (played by Llyrio Boateng), who likes to walk around in a Speedo, is literally only in the movie to be a “rescuer” to “damsels in distress.” During Mia’s “investigation,” Mia meets a psychotherapist named Catherine Isaac (played by Agi Nanjosi), who had Rebecca as a client. You can easily guess what happens when Catherine gets a visit from Mia at Catherine’s home office, and Catherine briefly leaves Mia alone in a room with unlocked file cabinets.

“Strictly Confidential” is ostensibly a mystery thriller about what happened to Rebecca, but the movie spends most of its time stringing together a bunch of terribly acted scenes where the characters in the main ensemble have sex-related secrets revealed about them. For example, Lily has been having a torrid affair with one of the invited guests, and this affair was going on before Lily’s husband Thomas died. (The “Strictly Confidential” trailer reveals who this person is.) The movie’s sex and kissing scenes for this secret affair look very fake and awkward.

Lily’s adulterous affair is supposed to make viewers wonder if Thomas died of natural causes or if he was murdered. After all, Lily inherited everything from Thomas. There are other betrayals and lies that get exposed in the story. There’s even a badly staged showdown taking place on a cliff, where at least one person inevitably falls off of the cliff.

“Strictly Confidential” tries to have a retro tone that’s partly like “Dynasty” (scheming wealthy people) and partly like “Red Shoe Diaries” (softcore erotica), but it’s all just a weak imitation that falls flat. “Strictly Confidential” is very muddled and nonsensical, while the characters are completely hollow and boring. And just when you think things couldn’t get any worse in “Strictly Confidential,” the ending of the movie has a poorly conceived “reveal” that raises more questions that are never answered. That’s assuming most viewers who have the patience to watch all of this trashy movie will still care by the time the “Strictly Confidential” stumbles to its uninspired and idiotic ending.

Lionsgate released “Strictly Confidential” in select U.S. cinemas, on digital and on VOD on April 5, 2024.

Review: ‘Love Sarah,’ starring Celia Imrie, Shannon Tarbet, Shelley Conn, Rupert Penry-Jones and Bill Paterson

February 22, 2021

by Carla Hay

“Love Sarah”

Directed by Eliza Schroeder

Culture Representation: Taking place in London, the dramedy film “Love Sarah” features a predominantly white cast of characters (with some people of Indian, Latino, African and Japanese heritage) representing the middle-class and the working-class.

Culture Clash: A rising-star pastry chef dies before launching a bakery business, but her best friend, 19-year-old daughter and estranged mother decide to band together and open the bakery in her memory.

Culture Audience: “Love Sarah” will appeal primarily to people who are interested in watching sentimental and harmless dramas.

Shelley Conn and Rupert Penry-Jones in “Love Sarah” (Photo courtesy of Samuel Goldwyn Films)

It might be a good idea not to watch “Love Sarah” when you’re hungry. The delectable pastries that are on display throughout this comedy/drama movie are among the highlights of this good-natured but ultimately bland and predictable story. However, the acting performances are watchable, and the movie has its heart in the right place, so it can be recommended viewing for anyone who’s in the mood for an uplifting story about forgiveness and following dreams.

Directed by Eliza Schroeder and written by Jake Brunger, “Love Sarah” starts off with the heartbreak of three very different London women whose lives have been shaken up by the death of a loved one named Sarah Curachi. On the day that she died, Sarah (played by Candice Brown), who’s in her late 30s, is shown riding her bicycle on her way to the empty storefront that she has rented in Notting Hill with her best friend Isabella (played by Shelley Conn), who’s about the same age as Sarah. Isabella is waiting outside impatiently because Sarah is late.

Meanwhile, Sarah’s mother Mimi Curachi (played by Celia Imrie), a retired circus owner/performer who lives by herself, is writing a letter of apology to someone who’s obviously her daughter. Viewers find out later that the letter was supposed to be sent to Sarah, who is Mimi’s only child.

Sarah is a single mother to a 19-year-old aspiring ballet dancer named Clarissa Curachi (played by Shannon Tarbet), who sometimes goes by the nickname Lari. Clarissa is a bit of a rebel because even though she’s training to be a dancer, she regularly smokes marijuana and she’s irresponsible with money.

It’s not shown in the movie, but Sarah was accidentally hit by a car, so she never made it to the storefront that day. Sarah and Isabella, who went to culinary school together, were renting the space with plans to open a bakery. The movie shows how the three most important people in Sarah’s life cope with her death.

After Sarah’s death, Isabella is shown in a distressed meeting with a leasing agent named Clive (played by Andrew Davis). Isabella is upset because, as a co-signer on the lease, she’s still responsible for paying the rent. Sarah was the star chef in this business partnership. (Sarah was good enough to train with celebrity chef Ottolenghi, as Isabella mentions in the meeting.) Because Sarah died, the bakery’s investors pulled out of the business.

Isabella (who quit her job as an investment banker) has been draining her savings to pay the rent. Despite a lot of pleading, the landlord won’t let Isabella out of the lease until another renter can take over the lease. Isabella decides it’s up to her to find another renter. The rental space, which is unfurnished and run-down, is definitely a “fixer upper” that had been vacant for quite some time before Sarah and Isabella rented it. Therefore, it’s going to be a big challenge to find someone else to take over the lease.

Meanwhile, Clarissa is also going through some tough times. She’s grieving over her mother’s death and hasn’t been able to concentrate in her dance classes. One night, her live-in boyfriend Alex (played by Max Parker), who’s also a dancer in the same class, tells Clarissa that their relationship isn’t working anymore, and he breaks up with her. Apparently, Clarissa’s name was not on the lease, because Clarissa is the one who has to move out.

With nowhere to go, Clarissa breaks into the storefront and spends the night there. The next morning, she’s about to be possibly arrested by the police, who were notified that there was a break-in. Isabella is there with two cops when she notices that Clarissa is sleeping on the floor. Isabella tells the cops that she knows Clarissa and can vouch for her, so the police officers leave.

An embarrassed Clarissa tells Isabella that she’s homeless because of the break-up with Alex. Isabella says that Clarissa can temporarily stay at Isabella’s place, but Clarissa declines the offer because she knows that Isabella’s home is so small that the only place that Clarissa would be able to sleep is on the couch. Clarissa tells Isabella that there’s only one other person she can ask for a place to stay. They both know who it is, and they both are reluctant to be in contact with her.

Sarah’s mother Mimi had been estranged from Sarah when Sarah died. That estrangement also extended to Clarissa, who has been avoiding seeing her grandmother for about a year or more, according to the inevitable conversation that Clarissa has later with Mimi. The movie shows Mimi grieving by avoiding spending time with her friends who invite her to social outings, and by spending time alone at home watching old film footage of herself when she used to be a trapeze artist in the circus.

What did Mimi do that was so awful that her daughter and granddaughter didn’t want to be in contact with her? The answer is revealed later in the movie. And what Mimi did is not as bad as you might think it is.

However, there are other hints in the story that Mimi’s fractured relationship with Sarah had been a problem for years. As the owner of a circus, Mimi often had to travel, and Sarah felt neglected when she was growing up. Mimi also has a prickly and overly judgmental personality that makes it hard for people to get close to her. Sarah’s father is not mentioned in the story, but it’s implied that Mimi was a single mother when she raised Sarah.

Sarah repeated the same pattern, by raising Clarissa as a single mother with no father around to help. The identity of Clarissa’s biological father becomes a subplot to this movie. After Sarah’s death, Clarissa is shown looking at her own birth certificate and seeing that the space for the father’s name has the word “unknown.”

It’s not a surprise to Clarissa, because she’s apparently been told all of her life that her biological father wasn’t going to be a part of her life. But now that Sarah has died, Clarissa wants to find out who her father is. Isabella mentions to Clarissa that Sarah always told her that Clarissa’s father was someone whom Sarah barely knew. Sarah wasn’t even sure what his name was.

Isabella has gone back to her investment job, working in a corporate office. Her heart isn’t in it, but she needs the money. And as fate would have it, Isabella has found another renter for the storefront. It’s a man who wants to turn the space into a wine bar. But lo and behold, shortly before Isabella is about to close this deal to sign over the lease to someone else, Clarissa shows up at Isabella’s office and begs her not to give up on the bakery.

Isabella is practical and tells Clarissa that she can’t afford to launch the bakery. Clarissa tells Isabella that she knows how to get the money to launch the business. And that leads to the inevitable scene where Clarissa reunites with Mimi. At first, Mimi is wary of Clarissa’s sudden reappearance in her life. And Mimi correctly guesses that what Clarissa wants from Mimi has something to do with money.

However, Clarissa is able to convince Mimi to invest in the bakery because she says it will be a way to honor Sarah. They decide to call the bakery Love Sarah. And the next thing you know—in the unrealistic way that movies conjure up ultra-convenient scenarios—Clarissa, Mimi and Isabella suddenly have the skills work on Love Sarah’s interior design and construction together. The first time that Clarissa takes Mimi to the dilapidated storefront, she says excitedly, “You can definitely see its potential.” Mimi quips in response, “What, as a crack den?”

Because a movie like this usually likes to have some romance as part of the story, there are two men who each end up becoming a potential love interest—one for Isabella, and the other for Mimi. There’s the predictable trope of the men making the first move, and the women playing hard to get, but we all know how these storylines are going to end.

Mathew Gregory (played by Rupert Penry-Jones) was a culinary school classmate of Sarah’s and Isabella’s. He suddenly shows up at Love Sarah one day and says he’s no longer working as a chef of a two-star Michelin restaurant. He also announces to Isabella that he wants to be a chef with her at the bakery. Isabella isn’t very happy to see Mathew because he used to date Sarah in their culinary school days, but he cheated on Sarah, so the relationship ended. Therefore, Isabella has a hard time trusting Mathew.

Sarah, Mathew and Isabella went to culinary school 20 years ago. Clarissa knows that the timeline of when Sarah and Mathew dated matches the timeline of when Clarissa could have been conceived. Mathew knows it too, so there’s some drama over a DNA test that results in Clarissa finding out whether or not Mathew is her biological father. However, Clarissa isn’t the only reason why Mathew wants to work at the bakery.

Mimi catches the eye of a man named Felix (played by Bill Paterson), who’s around the same age as she is. He lives in a building that’s directly across the street from the bakery. Mimi first notices Felix looking out his window at her while she’s at the bakery. After the bakery opens, Felix stops by and introduces himself as an inventor.

Felix is a little bit of an eccentric, and he tells Mimi, Isabella and Clarissa (who are all working at Love Sarah) that he’s invented a top-notch security system. Felix offers his services to install the security system because he says there have been break-ins and burglaries in the area. But it’s pretty obvious from the way he acts (he makes it known that he’s single and available) that the security system is just an excuse to try to get to know Mimi better. It should come as no surprise that she eventually warms up to his attention.

“Love Sarah” has a few very corny moments, such as when the spirit of Sarah is seen looking into the bakery and smiling at all the activity taking place. Fortunately, this ghostly appearance is only fleeting, because the last thing this movie needed was to turn into a “Ghost” ripoff, with Sarah appearing reincarnated in the bakery kitchen to guide the chefs in making the pastries. There’s also a very formulaic plot development where a would-be couple gets together, then has a falling out over a lie/misunderstanding, and then the person who feels betrayed has to decide if the other person deserves another chance.

All of the actors play their roles solidly and convincingly, but this movie isn’t going to win any awards. Some parts of the movie drag in a sluggish manner, so the pacing would’ve improved with better dialogue and more interesting things happening in the bakery. And there are some antics that Mathew does that are a little ridiculous and borderline stalker-ish, in his attempt to impress someone in the story.

Another flaw is how the movie clumsily handles Clarissa’s dreams of becoming a dancer. Clarissa’s work to become a professional dancer is shown in the beginning of the movie as a big part of her identity. And then, she’s not shown dancing at all when she decides to work full-time in the bakery. It’s as if the movie doesn’t want to explain how she handled not being in dance classes anymore because she had to be at Love Sarah. It’s not until the end of the movie that Clarissa’s identity as a dancer is hastily brought back up again, almost as an afterthought.

“Love Sarah” has a lot of sentimentality, but it isn’t a completely squeaky-clean movie, since there’s some occasional cursing in the film. For people interested in an overall feel-good movie, “Love Sarah” is a pleasant diversion. And it’s sure to delight foodies who love pastries because there’s an enticing variety that’s on display.

Samuel Goldwyn Films released “Love Sarah” in select U.S. cinemas and on digital and VOD on January 15, 2021.