THE LORDS OF DISCIPLINE (1983)

Title: THE LORDS OF DISCIPLINE

Year of Release: 1983

Director: Franc Roddam

Genre: Drama, Suspense

Synopsis: A senior cadet at a Carolina military school encounters hazing by fellow students designed to weed out undesirable candidates; disgusted by this, he tries to stop these incidents from happening.

Within a film history context: While hazing has been the subject of quite a few movies over the years, particularly with reference to its occurrence in universities, hazing taking place in military academies has been less frequent onscreen. The first notable example was John Ford's SALUTE (1929), in this story of two brothers in a military academy. Featuring a single incident of hazing which is more comical than serious in intent, it did not delve as such into this in a deep manner, more concerned overall with the romantic aspects of the story. NAVY BLUE AND GOLD (1937), directed by Sam Wood, featured a scene where a student at a naval academy is subjected to off-screen hazing by a smarmy upperclassman. Alfred Green's THE DUKE OF WEST POINT (1938) was about a haughty young man from England who enrols in the West Point military academy, and is ignored by the other cadets when he violates the academy's honor code. NAVAL ACADEMY (1941), directed by Erle C. Kenton, was set in a military reform school. There is a scene where one of the students is subjected to hazing by several upperclassmen, falling into a swimming pool with his hands tied, and eyes covered, but is saved by a fellow student. One of the most incisive depictions of hazing could be found in Jack Garfein's THE STRANGE ONE (1957). In a Southern military college, a charismatic but sadistic young Cadet dominates his fellow students with deceptive and bullying tactics, but is undone by his deplorable behavior. A dark movie which boasted excellent acting, particularly by Ben Gazzara in the lead, and George Peppard, Pat Hingle, and Peter Mark Richman in support, it was a challenging, but rewarding movie experience. THE LORDS OF DISCIPLINE was akin to the films mentioned above, but added its own distinctive flourishes to the topic of hazing in military academies.

THE LORDS OF DISCIPLINE is closest to THE STRANGE ONE in terms of its uncompromising treatment of hazing within the narrative. Both examine the emotionally devastating effects of hazing on its victims, highlighting those who disagree with it, finding it morally objectionable. Both of these movies are more explicit in depicting the hazing incidents, particularly THE LORDS OF DISCIPLINE, which is something the earlier movies such as NAVY BLUE AND GOLD could only refer to verbally, but not show onscreen due to the censorship of their day. THE LORDS OF DISCIPLINE differed from THE STRANGE ONE in that the hazing did not have overt homosexual overtones, but was more along the lines of power and racism. Where both movies did coincide is that the perpetrators of the hazing are brought to account, which gives the audiences of THE LORDS OF DISCIPLINE and THE STRANGE ONE a comforting notion of justice being rightly served. There are some other variations between THE LORDS OF DISCIPLINE and the earlier movies which deserve mention.

Where THE STRANGE ONE has a number of characters who rail against the hazing, and put a stop to it eventually, in THE LORDS OF DISCIPLINE this weight is carried by one character. THE STRANGE ONE has Jocko dominating the other students physically and psychologically, while in THE LORDS OF DISCIPLINE it is a group of students, named The Ten, who carry out the hazing. The Ten are more of a faceless entity in the movie, their uncovering a suspenseful part of the film, but Jocko is anything but hidden. In addition, THE LORDS OF DISCIPLINE, as such, did not have the romantic subplots or feel that permeated earlier examples such as SALUTE and NAVY BLUE AND GOLD. While there was the presence of girlfriends of the military academy students in the film, by and large this thread took a backseat to the dominant hazing storyline in THE LORDS OF DISCIPLINE. This was something that THE STRANGE ONE also shared with Jocko and his fleeting romantic pursuit. One of the most trenchant films about hazing in military academies, or in any setting ever produced, THE LORDS OF DISCIPLINE is a compelling movie.

Overview: Franc Roddam is a British director who has made six films over his career, with one movie segment in an anthology motion picture. His first film, QUADROPHENIA (1979) was a portrait of a young man in 1960s London, clashing with his parents, becoming involved with drugs, and generally indulging in anti-social behavior. THE BRIDE (1985) was a horror movie about a group of scientists who create what they believe is the ideal woman, but with a number of unexpected repercussions. Franc Roddam directed a segment in ARIA (1987) entitled "Liebestod", which followed the escapades of two ill-fated lovers, starring Bridget Fonda and James Mathers. WAR PARTY (1988) was a drama concerning the recreation of a century-old battle between the US Cavalry and Native Americans, which causes contemporary problems for its participants. Mr Roddam's last film to date, K2 (1991), detailed the adventures of two men, based upon a true story, who aimed to climb the K2 mountain in Pakistan. THE LORDS OF DISCIPLINE was Franc Roddam's second motion picture, and one of his best.

With THE LORDS OF DISCIPLINE, Franc Roddam has made a carefully-constructed, crisp film which is a winner. Based upon the novel by Pat Conroy about life in a 1960s Carolina military academy, specifically following hazing incidents taking place among its students, it is an engrossing, thoughtful movie that keeps the attention from beginning to end. The atmosphere is well-managed, maintaining a balance between light but also, more serious moments. The movie also lacks a melodramatic nature, preferring for a more naturalistic, easy-going approach. While THE LORDS OF DISCIPLINE is at heart a somber work, it never becomes depressing or maudlin, despite its subject matter. It makes its points succinctly, without ever becoming morose, or violent in showing hazing. It does not exploit its subject matter for cheap visual thrills, something which is to be commended. THE LORDS OF DISCIPLINE thus does not wallow in depravity, something a lesser filmmaker would readily consider. Further features of the movie are also worthy of discussion.

While it could be argued that the lack of a distaff side does not allow for other points of view in the movie, this does not matter overall. THE LORDS OF DISCIPLINE is tightly-made, and stays consistent to its storyline, never making needless deviations. Aside from its examination of hazing, THE LORDS OF DISCIPLINE is also a character study, with Will at its center. Although The Ten are brought to justice, one does not experience the fallout from this, but how this entire episode marked Will's life. The movie could have spotlighted the frenzied reactions of those in The Ten to being caught, but it shies away from this. It does not as such present the story as one with revenge elements, as Will was the movie's epitome of truth and honor, which would not have been suitable given this. THE LORDS OF DISCIPLINE handles matters in a more subtle manner, keeping the ambience on an even, more nuanced keel. A movie that has unfortunately been vastly underrated over the years, THE LORDS OF DISCIPLINE is one of the best films of the 1980s, and a great example of Franc Roddam's cinematic artistry.

Acting: THE LORDS OF DISCIPLINE offers many great performances which bolster the movie. In the lead role of Will McLean, David Keith is excellent. As the upright Will, who encounters many obstacles along the way in his search for the truth, Mr Keith is entirely convincing. An actor with an air of both integrity and a generous nature, the personable Mr Keith is the cornerstone of the movie. Rick Rossovich, as Dante, Will's friend and roommate at the academy, brings a sense of both the comic, and dramatic to his part. Watching Mr Rossovich verbally and physically thrashing his roommates is great fun, then his reaction to being accused of a crime, deftly expresses both comedy, and pathos, exceptionally well. In his movie debut as Tradd, Will's roommate and best friend, Mitchell Lichtenstein brings another complicated character to the screen. An actor with a veneer of quiet calm and comforting voice that distinguishes protagonists more intricate than first meet the eye, he does exceedingly well as the smooth, charming Tradd. Malcolm Danare, as Poteete, is striking as the tragic academy student who makes an irreversible decision. With his unique voice and acting style, Mr Danare makes Poteete a riveting figure it would have been great to have seen more of in the movie. There are four other contributions in the acting department that make THE LORDS OF DISCIPLINE a fine film.

As the oily and scheming John, Will's nemesis, and the movie's central villain, Michael Biehn is an effective figure of malice and devil-doing in THE LORDS OF DISCIPLINE. With his subtle body language, careful movements, and magnetic stare, Mr Biehn is excellent as the methodical, evil John. In a small role as Abigail St. Croix, mother of Tradd, Barbara Babcock makes the most of her cameo as the relaxed Abigail. It is entertaining watching the married Abigail trade quips with Will, and make friendly advances toward him. G.D. Spradlin, as General Bentley Durrell, kingpin of the military academy, is fine as the officious General with more than one skeleton in his closet. Seeing him swallow his pride in the final scenes is one of the film's highlights. The final acting of note was by Robert Prosky as Bear. With his cigar-chomping and grizzled demeanour, Mr Prosky adds both humor, and authority to THE LORDS OF DISCIPLINE with the seen-it-all Bear.

Soundtrack: THE LORDS OF DISCIPLINE has a rousing theme which is utilized both during the opening credits sequence, and closing credits. The latter version is a sprightlier version of the one during the opening credits, reflecting the change in tone from the start, and end of the movie. The film also contains musical accompaniment throughout its run, ranging from the intimate scenes of character revelations, to the sequences of hazing with startling graphics.

Mise-en-scene: THE LORDS OF DISCIPLINE has meticulous attention to mise-en-scene. The scenes at the military academy, both indoors and exteriors, the family home of Tradd St. Croix, the diner, the Ten's meeting place, to name several examples, are all well selected, and impart valuable information which support the story and its characters. Costuming is also of a high standard, with uniforms, and attire worn when the students are in civilian mode, all reflecting the movie's 1960s setting. Cinematography by Brian Tufano is also beautiful, the colour just right without being too bright, and in keeping with the film's thoughtful nature. Both daytime, and nighttime filming is also impressive, the viewer being able to see the action clearly during both parts of the day.

Notable Acting Performances: David Keith, Rick Rossovich, Mitchell Lichtenstein, Malcolm Danare, Michael Biehn, Barbara Babcock, G.D. Spradlin, Robert Prosky.

Suitability for young viewers: No. Infrequent coarse language, male nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer

INTERVIEW WITH ACTOR MITCHELL LICHTENSTEIN

I have the great pleasure of welcoming a very special guest, actor Mitchell Lichtenstein, to CINEMATIC REVELATIONS for an interview. Mitchell has acted in various motion pictures over the years, most notably in feature films such as THE LORDS OF DISCIPLINE, CRACKERS, THE WEDDING BANQUET, STREAMERS [my review of the film can be found here] and FLAWLESS, to name a few examples. Mitchell today will be discussing his role in STREAMERS, acting, and his role as film director.

Welcome to CINEMATIC REVELATIONS Mitchell!

Athan: When did you first realize that you wanted to be an actor?

Mitchell: In college. I had intended to major in “creative writing”, but took an acting class my first year with a great teacher – Larry O’Dwyer – and wound up never taking a single writing class.

*

Athan: Where did you study acting?

Mitchell: First at that college – Bennington College in Vermont, than at the Yale School of Drama. And later on I studied with various teachers including Mira Rostova, who, infamously, had been Montgomery Clift’s acting coach, Marilyn Fried (who had taught Diane Keaton) and Milton Katselas.

*

Athan: Your performance as Richie in STREAMERS was an excellent, nuanced portrait of a person who was, by and large discriminated against by the other characters, but always responded with understanding, and a lack of malice. How did you become involved in this project?

Mitchell: Through the customary route: auditioning. Altman later told me that he hired me for the role because I could blush on cue.

*

Athan: The final sequences when Michael Wright, as Carlyle, lost his balance and embarked on a deadly rampage were shattering to witness in STREAMERS. From your point of view, how did you find filming these difficult, emotionally charged scenes?

Mitchell: The scenes leading up to – spoiler alert! – Billy’s murder were genuinely difficult emotionally for me and, I believe, for the other actors as well. More so than in other films because we were such a small, close group, and because we shot in sequence, so we lived the story in a way an actor really can’t in a normal film shoot. Shooting in sequence was financially possible for Altman because we were working in a single location (set).

*

Athan: What did you most enjoy about the experience of making STREAMERS?

Mitchell: Robert Altman. All actors loved working with him. He had a genuine love for actors, for their work, their invention, their quirks – he appreciated and encouraged it all. Because of that, and because we trust his eye, actors are never more free than when working with Altman.

Also, I made some life-long friends on that shoot.

*

Athan: What for you was the most demanding, but emotionally satisfying segment of making STREAMERS?

Mitchell: I’d say, my scenes with Michael Wright. Both because of the emotional complexity of David Rabe’s writing, and the genius of Michael’s performance.

*

Athan: STREAMERS was shot in a limited, realistic set that intensified the action for viewers watching the movie. How did you feel about working in such a restricted film set without outdoor locations?

Mitchell: Just as the single location intensified the action for viewers, it intensified the action for us, too, so it helped us to feel the reality of what our characters were going through. It helped us to focus, too. No pauses in filming while moving from location to location, no distractions.

*

Athan: Have you kept in contact with any cast members and crew from STREAMERS?

Mitchell: For years, I kept in contact with many, but some are gone now. David Alan Grier and I were in the same class at Yale, so I was already friendly with him. And Albert Macklin (who played Martin) and I became good friends.

*

Athan: STREAMERS was directed by the renowned Robert Altman, and was one of his best-ever movies. What was the experience of being directed in the film by Mr Altman?

Mitchell: I touched on this a few questions back. I’ll just reemphasize that you’d be hard-pressed to find an actor who didn’t love working with Altman because of his love and support of actors, his artistic sense, and the relaxed yet focused tone of his set.

*

Athan: STREAMERS was set during the Vietnam War in the late 1960s. Did acting in the movie prompt you to research this turbulent era in the United States?

Mitchell: I didn’t do any special research on the war, because Richie (and the other young characters) are pretty clueless about it themselves. I already knew a lot more about the war than Richie did, having grown up in that period. I marched on Washington against the war, and just missed the draft by a couple of years.

*

Athan: You have directed three motion pictures so far, being TEETH (2007), HAPPY TEARS (2009), and ANGELICA (2015). What for you are the most satisfying aspects of directing a full-length movie?

Mitchell: Creating a world is what’s satisfying to me. So choosing and collaborating with all of the artists who help to do that is what makes movie making a satisfying and (mostly) joyful experience. Sometimes it’s border line surreal to watch actors I’ve long admired embodying characters I’ve invented (or adapted) and saying lines I’ve written: Parker Posey, Rip Torn, Demi Moore, Janet McTeer among them.

*

Athan: Do you have any upcoming projects of which you would like to tell readers?

Mitchell: I’m writing a screenplay. And I’ve written a play, so if there is ever a post-Covid 19 when theater becomes possible again, I look forward – for the first time -- to creating a world on stage.

*

Thank you so much today for your time Mitchell, and for the insight you have provided into the art of acting, STREAMERS, and film directing. It has been lovely to have you on CINEMATIC REVELATIONS. You are welcome to return whenever you wish.

*

Mitchell Lichtenstein links

+Mitchell Lichtenstein website

+Mitchell Lichtenstein IMDb Actor Page

+STREAMERS IMDb page

STREAMERS (1983)

Title: STREAMERS

Year of Release: 1983

Director: Robert Altman

Genre: Drama

Synopsis: Soldiers in an army barracks preparing to go to Vietnam wrestle with the revelation that one of their fellow recruits is gay.

Within a film history context: Films featuring homosexual protagonists and themes have been featured several times in cinema before STREAMERS. One of the first was Jack Garfien's THE STRANGE ONE (1957). In this movie, the tradition of hazing within a military college was explored, and the presence of a gay character in the narrative. It was also notable not only for its frank, for the time, treatment of its subject matter but also, being the film debut of several cast members including Ben Gazzara and George Peppard. REFLECTIONS IN A GOLDEN EYE (1967), directed by John Huston, had a gay character who was also a soldier. John Flynn's THE SERGEANT (1968) starred Rod Steiger as an army sergeant who is drawn towards a younger man, his untapped feelings brought out into the open. As with REFLECTIONS IN A GOLDEN EYE, THE VIRGIN SOLDIERS (1969), directed by John Dexter, had a gay character who again was a soldier, this time in 1950s Singapore. The difference between this film and the others is that it was of a comic nature with some dramatic moments. 

In a different, more irreverent vein was Bruce Kessler's THE GAY DECEIVERS (1969). While not technically set in a military locale, it was notable as it had two men pretending to be gay in order to avoid being drafted for Vietnam. This, of course, does not work out exactly as planned, which provided the majority of the comedy in this film. THE MCKENZIE BREAK (1970), directed by Lamont Johnson, again had a gay soldier, this time set during World War II. British film PRIVATES ON PARADE (1983), directed by Michael Blakemore, was about soldiers in 1940s Malaysia, with a gay captain in evidence. STREAMERS took elements of the more serious, considered movies with gay military protagonists, and explored these vigorously with its gay character, and his effect on the other men in the barracks.

In the other movies, homosexuality, with the exception of THE SERGEANT, was something treated as a sideline rather than a major plot point. In STREAMERS, it is front and center of the film, creating the drama, and showing the audience how the characters respond to this in their varying ways. There are those characters who speak out against it, and Richie, but are not particularly blatant in their lack of understanding, another who believes that it is a phase which will pass, and, in particular, Billy, who is adamant in opposing Richie and his homosexuality. The film is therefore more multi-faceted than others, presenting viewpoints to the audience for them to ponder, and discern before, and if they make their final assumptions about the topic. STREAMERS is significant as it did not fall into the trap of making characters 'good' or 'bad', it presents its debate to the viewers for them to decide without pushing one or the other side. The spectator of STREAMERS is the judge and jury; they are presented with all the evidence through the characters and their actions, and hence cast their own vote on what is right, or wrong. A thought-provoking film that leaves one thinking about it way after it has ended, STREAMERS is a contemplative work that deserves recognition for its robust presentation, and intentions.

Overview: Robert Altman was an adventurous filmmaker who made a vast assortment of movies with distinctive themes, from 1957 until his final film in 2006. After directing a number of short movies, Mr Altman made his debut in 1957 with THE DELINQUENTS. A drama of youth dissatisfaction and gangs, it starred Tom Laughlin in the lead role, who approximately a decade later found fame in the 'Billy Jack' action movies. After working in television for the next ten years, Mr Altman then directed COUNTDOWN (1967). A science-fiction thriller co-starring future THE GODFATHER stars James Caan and Robert Duvall, it was an interesting movie that began his ascent as director. THAT COLD DAY IN THE PARK (1969) was a psychological suspense story starring Sandy Dennis that earned plaudits for Mr Altman and hid lead actress. The start of the 1970s, though, heralded an unprecedented era of creative successes for Mr Altman.

MASH (1970) was Mr Altman's biggest success to date, a comedy-drama set during the Korean War that also provided Elliott Gould, Donald Sutherland, and other performers excellent exposure. It was so influential that it spun off a long-running television series that enjoyed high ratings during its eleven seasons on the air. More notable films followed for Robert Altman. McCABE AND MRS MILLER (1971) was a drama about a madam and a gambler in a western town, starring Warren Beatty and Julie Christie. IMAGES (1972) was a suspenseful drama about a woman in a constant state of flux, unable to distinguish what was fantasy and what was reality. An actor's piece giving Susannah York an excellent role, with Robert Altman regular Rene Auberjonois in a supporting role, it was an absorbing piece of cinema. More comical in delivery was CALIFORNIA SPLIT (1974). With Elliott Gould and George Segal as two gamblers finding nothing but trouble with their lifestyle, it gave its stars many opportunities to display their engaging quick-talking abilities. With NASHVILLE (1975), Mr Altman found another topical theme to explore. Focusing upon a political convention in Nashville, it showed Mr Altman's ease working with large ensemble casts, and was another box-office success for him. He then made a journey into more solemn territory with 3 WOMEN (1977). Following the relationship of three women over the years, it was another artistic triumph for Mr Altman, and an acting one for Sissy Spacek and Shelley Duvall. Another character-driven film, A WEDDING (1978) was comic in nature, about the marriage of a young woman of working class background to a wealthy young man. Another success for Mr Altman, it rounded out his best films from the 1970s.

The 1980s brought him films with less success at the box-office, and artistically. HealtH (1980) was a satire of American politics that did not go over well with audiences at the time. POPEYE (1980) was a financial failure that did nothing for Mr Altman or his actors. COME BACK TO THE 5 AND DIME JIMMY DEAN, JIMMY DEAN (1982) was more in his style, a film that took advantage of its large cast, even though the set at times was slightly constricting. The 1990s, though, brought a renaissance for Mr Altman. VINCENT & THEO (1990) was an exploration of the relationship between Vincent van Gogh and brother Theodore, using a largely British cast including Tim Roth and Paul Rhys as the titular siblings. SHORT CUTS (1993) was another innovative film, somewhat in the style of Mr Altman's other character-based movies such as NASHVILLE and A WEDDING, with a large cast bringing his story of Los Angeles denizens to vivid life. READY TO WEAR (1994), with Julia Roberts, was a comedy about people involved in the Paris Fashion Week. It was also notable for appearances by international actors such as Sophia Loren and Anouk Aimee. Robert Altman made a few more movies in the 1990s and 2000s, his final being A PRAIRIE HOME COMPANION (2006). With a cast including Meryl Streep, Lily Tomlin and Tommy Lee Jones, it had both comic, and dramatic elements well fused by Mr Altman. STREAMERS, coming in 1983, was one of Mr Altman's best films, and another example of his excellent work with ensemble casts, this time tighter in number than other films such as NASHVILLE. 

Adapted by David Rabe for the screen from his own stage play, STREAMERS, as directed by Robert Altman, is a thoroughly gripping, compulsively watchable film that moves at a steady, but never stagnant pace. At first glance it would seem that filming a movie in such a limited environment would render it boring, but Mr Altman effortlessly glides from character to character, situation to situation with a confident assurance. There are no gaps, or moments where the movie feels stagey, and this is in large part attributable not only to Mr Altman's direction, but also, to his actors. Dispensing with his tradition of a soundtrack with multiple actors speaking simultaneously, Mr Altman goes for a cleaner feel with the dialogue and its delivery here, which works in its favour. It does not feel overloaded, but naturalistic. While the film also has a concentration on obscenities and sexual inferences, these do not feel out of place, coming from the characters in a manner that is not demeaning, but realistic. Some films utilize coarse language and its delivery sounds artificial, and offensive, but this is not the case in STREAMERS. 

Other features of the film make it stand out in comparison to Mr Altman's other movies. It is more of a straightforward narrative without the irony of MASH, never containing humour that does not gel with the characters, and what is going on. STREAMERS has an hypnotic quality shared with Mr Altman's earlier IMAGES, where one cannot take their eyes away from the screen, as what is occurring is so spellbinding. Unlike IMAGES, though, the visuals are not as beautiful, where that film's transitions from reality to fiction are an integral element in the movie. STREAMERS is more in keeping with Mr Altman's McCABE AND MRS MILLER in the realism of its sets, preferring a more subdued presentation. The film is also an intimate examination of homophobia, presenting both sides of the coin for audiences to synthesize. It is also notable for presenting a gay character who is uncomplicated in his psychological makeup, this also being a contrast to the other films with their wrought gay protagonists. For these reasons, in all respects STREAMERS works on every level, and is one of Robert Altman's best cinematic achievements.

Acting: The acting performances in STREAMERS are all first-rate, keeping the film compelling from beginning to end. As Billy, Matthew Modine is excellent, making the character real despite Billy's homophobia and ranting. Mr Modine has a funky way of speaking which works well on screen, this working particularly well in the confrontation scenes. The viewer has a sense of regret at what happens to him in the movie, but he carries his scenes off with a righteous air. Michael Wright is stunning as the complicated Carlyle whose closeted gay inclinations cause him to melt down, and provide the film with its violent conclusion. An actor capable of displaying many simmering emotions in quick succession, Mr Wright's actions as Carlyle, while horrendous, are born of repression, and lack of opportunity. Mitchell Lichtenstein, as Richie, also has a challenging role in STREAMERS. Playing a gay character in a film largely populated with heterosexual characters makes his acting stand out even more. It is a testament to his ability that Richie is not a stereotypical character, but portrayed with shades of compassion and understanding that give Richie great depth. The subtle facial expressions and movements employed by Mr Lichtenstein make Richie a sympathetic, and compelling presence in the movie.

Soundtrack: STREAMERS does not have a musical score and this only heightens the drama, as enough taking place onscreen to capture interest. Diegetic music is restricted to the radio inside the barracks, playing pop songs, which gives the film added realism. 

Mise-en-scene: STREAMERS was filmed in a barracks set which had an outlook to the outside through windows, and a clear view of the shower room from inside the barracks. While this might seem a claustrophobic set at first glance, it works in the film's favour as it intensifies the action, keeping it disciplined. The low lighting is realistic, seeming like an authentic barracks, but the expressions of the actors are easily discerned despite the gothic-like spare lighting. The opening and closing credits are similar, with soldiers in military training, the lighting emphasizing their form through use of shadows. It is a haunting sequences that excellently puts the film into perspective for viewers.

Award-worthy performances in my opinion: Matthew Modine, Michael Wright, Mitchell Lichtenstein.

Suitability for young viewers: No. Frequent coarse language, male nudity, adult themes, medium-level violence.

Overall Grade: A

Link: IMDB Page

Trailer