Friday, December 19, 2025
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(Watch) New Trailer for Tom Cruise’s Sequel to “Top Gun: Maverick,” Coming Next Summer, with Val Kilmer

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Peter Maverick is back. Yes, his name is actually Maverick. Anyway, Tom Cruise returns 34 years after “Top Gun” solidified his stardom for “Top Gun: Maverick.” Paramount is counting on this one to be huge. Jerry Bruckheimer has produced the movie, but in a nice touch the credits read produced by Don Simpson and Jerry Bruckheimer. Simpson was a larger than life producer who literally exploded in the 1980s.

Now Cruise will mentor Miles Teller, playing the son of his late pal Goose (Anthony Edwards). Jennifer Connelly, Ed Harris, Manny Jacinto, Glen Powell and Jon Hamm are also in the cast. Plus, Val Kilmer returns as the Iceman after winning a long, tough battle with throat cancer. It will be interesting to see how the movie handles Kilmer’s speech issues.

The choice of director here is odd, although maybe “Maverick” just directs itself. Joseph Kosinski has only made 3 features ever including sending Tom to “Oblivion.” That movie made $89 million and was not considered a hit.

New trailer:

First trailer:

Jamie Foxx Celebrates Birthday with Cast of “Just Mercy,” Michael B. Jordan Says: “This is the movie I am most proud of”

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Destin Daniel Cretton’s “Just Mercy” is sort of the forgotten movie of the season. I put it on my top 10 list when I saw it in Toronto, and expected it to be the “Green Book” of 2019. But the film isn’t being released until Christmas Day. In New York, there’s been little publicity for it. All the awards groups have passed it over except for SAG, which nominated Jamie Foxx for Best Supporting Actor.

So where is everyone? Finally, Sunday night, a confusing and weird cocktail reception and Q&A was held at the Edition Hotel in Times Square. This thoughtful, wonderfully made movie was relegated to this odd spot at the center of Christmas chaos, where there was no food for the press but plenty at empty tables guarded for actors who weren’t there. If you tried to take a slider, someone from a company called Allied started screaming in horror.

But for the first time — at least in New York– the cast was all assembled. Jamie Foxx, Michael B. Jordan, Rob Morgan, Brie Larson, but no director. Cretton was said be “in L.A.” He’s been shooting a Marvel movie in Australia. But since Larson did the movie as a favor for him, I thought he’d come and press some flesh. Don’t press your luck.

The other person, and most important, in attendance was civil rights lawyer Bryan Stevenson. The movie is based on his book about rescuing Walter McMillan from Alabama’s death row. Jordan plays Stevenson in the movie, a young Harvard lawyer who skips the big bucks and heads south to defend black people who’ve been railroaded, or wrongly convicted of crimes, pro bono. Foxx is McMillan. (You’re made of stone if you don’t cry or tear up at his performance.) Rob Morgan is another prisoner on death row. The actors do sublime work, some of the very best of the year.

One performance that is jarring and should have been in the awards mix this season was Tim Blake Nelson as Ralph Meyers, the man who lied in his testimony and put McMillan on death row. When Stevenson/Jordan digs in, he discovers what Meyers did. Nelson is sensational. It’s hard to root for such a villain, but Nelson gives him dimensions you wouldn’t think existed.

Stevenson. Foxx, Jordan, Larson, and Morgan sat on a makeshift stage for a short but informative Q&A before they were whisked away. (I tried to talk to them, but was given intentional misdirection.)

The actors are passionate about the project, which Jordan got an executive producer credit. He said, “I’ve made Marvel movies, all kinds movies, but this is the one I am most proud of.”

There was a stumbling moment during the Q&A when the moderator, Charlamagne tha God, asked Oscar winner Larson what, as a white woman, she made of all this. This sort of stopped traffic as Larson had to sort through that for a minute. But her comeback was perfect: she’s open, she’s listening, and learning. “And I liked the question,” she added brightly, which was very gracious of her.

But Stevenson is the main takeaway here. He’s a huge force in civil liberties. Most of the guests didn’t know who he was, but he’s important enough that journalist and author Michael Eric Dyson came up from Washington, DC to see him and the movie.

Why is Stevenson a hero? Jordan said on stage: “I think because he’s selfless and he doesn’t fatigue. He’s so optimistic and so hopeful in the most dismal situation, I can’t even fathom. In the situations he was in, kept his calm and he kept his cool when he was bring strip searched, antagonized, racially profiled. He still kept his cool. In the scene, I wanted to react differently show rage and lash out. Those would have been my acting choices. But that’s not what Bryan Stevenson is or was.”

Stevenson summed it up: “I don’t believe we that our country will be judged by how we treat the powerful and the celebrated. We’re going to be judged by how we treat the poor and the incarcerated.”

Please, please see this film starting Christmas Day. Tell your friends, spread the word. I hope to have more on it in the next ten days.

 

Flashback: P Diddy Sean Combs’s 35th Birthday Party Was Off the Hook, Mariah Wore a White Wedding Dress, Dozens of Celebs Sang “Hey Big Spender”

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Happy Birthday, Sean Puffy Combs. I see that his 50th birthday party in Los Angeles was quite the A list affair, with Jay Z and Beyonce, Kanye West and his in-laws.

Fifteen years ago, Puffy had a blow out birthday at Cipriani Wall Street. I was there, and I’ll never forget it. It was just one of many Puffy parties at the time that were memorable. And here we are 15 years later. Back then, the Kardashians didn’t exit. Neither did Kanye. Or Beyonce in a big way. Jay Z was just a name on the list.

Sean Combs has always been the nicest, most agreeable and interesting person in hip hop. Even when he was connected to unsavory moments that involved the police or Champagne bottles. And he’s still here, more successful than ever.

Here’s what I wrote 15 years ago:

from November 6, 2004:

Nobody has ever accused Sean “P. Diddy” Combs of doing anything the small, elegant way.

His 35th birthday party last night should have been called “The Sweet Smell of Excess.”

If nothing else it proves that the rap impresario — who cannot sing, dance or act — is a phenomenon unto himself and has perfected life as a post-millennial Jay Gatsby.

More than 1,500 of Combs’ closest friends packed themselves into Cipriani’s ballroom last night — the same place where Combs celebrated his birthday five years ago. The event was an elegant black-tie affair, although not everyone adhered to the letter of the law.

Mariah Carey came in a white Vera Wang wedding dress with flowing tulle and sported a diamond tiara. Vivica A. Fox wore a flowing gown and diamonds from a Toronto designer. A tuxedo-wearing Tony Danza looked sheepish when I asked him if he didn’t have to get up early to do his show the next morning.

Also spotted in the perfect sea of beautiful — and I mean gorgeous — supermodels and young women with long, long legs: George Hamilton, Ben Chaplin, Carson Daly, Guy Oseary, Jay-Z, Nia Long, Usher, Bruce Willis, Ingrid Casares, Clive Davis, Rocco DiSpirito, Suzanne Bartsch and David Barton, art dealer Tony Shafrazi and, of course, the ubiquitous Paris Hilton.

Supermodel Frederique, dolled up for the occasion, sat in the lap of nightclub owner Amy Sacco. Universal Music Group chief Doug Morris, with Island/Def Jam’s L.A. Reid, kept an eye on Mariah and on the enormous cost of the party.

“Do you have to pay for this?” I asked Morris, who was accompanied by his new Motown chief Sylvia Rhone.

“I hope not,” Morris shot back.

Who exactly was paying might have been a question that crossed people’s minds as more than a dozen gussied-up violinists greeted people in the entryway. Once inside, huge video screens projected film clips of Combs’ life while giant pictures of him as a boy with his late father adorned the cavernous room.

The ballroom itself was flanked by raised levels where guests could congregate as they watched the dance floor. Later, curtains on the levels were pulled back to reveal beds, booths and water-filled porcelain bathtubs. Higher video screens flashed the words “KING DIDDY.”

Was there a cake, you ask? Were there hookers, acrobats and go-go dancers? Yes, to all of the above.

I don’t remember anyone singing “Happy Birthday,” but at some point Combs was treated to a musical number when some long-legged dancers climbed out of a gigantic cardboard cake and serenaded him with “Hey, Big Spender.” At the end they altered the lyrics to “Hey P. Diddy.”

Combs was flanked by his criminal-defense attorney Ben Brafman, his regular lawyer Kenny Meiselas and, of course, his mother Janice Combs.

Who and what we didn’t see: Ron Burkle, “Vote or Die” shirts, Fonzworth Bentley, Lil’ Kim or Mase.

Who and what we did see: ice sculptures with the P. Diddy logo, Denise Rich, and Donna Karan fresh from the Ovarian Cancer Research dinner in Chelsea, where she honored Trudie Styler.

By 2 a.m. the crowd was going strong, the lights were nearly out and the thud of bass reverberated off the marble in what used to be a bank. Doug E. Fresh, calling out raps and emceeing for the night from above the stage where Combs and about 300 people milled about, took the hour to make a political speech. “[Expletive deleted] Bush!” he cried over and over. The crowd, swathed in anonymity, echoed the sentiment.

Inventing a Superstar: Harry Styles Sells 200,000 Copies of New Album “Fine Line” Using Ticket Bundle Method

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MONDAY DEC 16 UPDATE: Sales have slowed considerably. Saturday sales were around 40,000 all in, with two thirds of those coming from the ticket bundle. Can “Fine Line” make it all the way through the week at number 1 on iTunes? Cliffhanger…

SUNDAY DEC 15 It’s all good news for Harry Styles, who launched his second solo album on Friday.

“Fine Line,” a pleasing collection of seventies-style rock, sold a whopping 200,000 copies upon release on Friday. That’s an enormous number. But it comes with an asterisk: A CD copy of “Fine Line” was included in the sale of every ticket to Harry’s upcoming North American tour.

This is the same method that was used to make Celine Dion number 1 last week. Her album spurted to number 1, then disappeared in week 2.

Of the 200,000 units of “Fine Line” sold, Buzz Angle Music figures show that 135,000 were CDs– more than likely part of the album/ticket bundle. Physical sales (5,000 LPs sold as well) comprised 68% of the total. Digital sales– streaming and paid downloads– came to 66,000 copies. So the latter is the “real” number for Friday, which is still pretty impressive in this market.

The tour consists of 34 dates, which means roughly an average of 4,235 tickets were sold per date. Each of those people received CDs. The venues Harry’s playing are all arenas, capacity of almost 20,000. The production design is reminiscent of a great U2 tour from a few years ago, with the floor all general admission standing, the stage in the center of the floor, and all the seating around the arena without obstructed views.

It would seem that all the ticket bundles were counted on Friday for that total, but more will come in during the week. There are some predictions of sales of 400,000 music units by the end of this Thursday. We’ll know right away how many were sold in bundles.

One thing that hasn’t happened from all these sales is a number 1 single, either on iTunes or Spotify. We’ll keep an eye on that, too.

But none of this means that Harry isn’t popular, or that the marketing of “Fine Line” hasn’t been superior. The entire project– design, branding, the album debut show at LA’s Inglewood Forum, trotting out Stevie Nicks, etc– is genius. Even Harry vacillating about being bi-sexual in the press adds an aura of mystery. (James Franco played this like a fiddle a few years ago.) Harry’s team is working on all cylinders and doing a great job to establish a rock star who will last a decade. And that’s what it’s all about.

The Rock Keeps Rocking: “Jumanji” Sequel Over Performs with $60 Mil Weekend, Saving Sony’s Bottom Line

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So, who cares about “Charlie’s Angels”? Or the underperforming “Beautiful Day in the Neighborhood”? Or the Sony Walkman, for that matter?

“Jumanji: The Next Level” had a $60.1 million weekend. Sony execs are doing cartwheels. They issued a $35 mil prognostication. Then it was upgraded to $50 mil. But $60 mil?

And it’s all about Dwayne “The Rock” Johnson. You can’t keep this guy down. Two years ago, his first “Jumanji” made $404 million in the US and almost a billion total around the world ($965 mil). He’s literally printing money! I’m sure “Jumanji 3” is already in the pipeline for 2021.

“Jumanji” has turned out to be a great concept. Back in 1995, with Robin Williams, the original film made $100 mil US and $262 mil worldwide. That wasn’t chump change then.

And The Rock? He’ll keep rocking next July in Disney’s “Jungle Cruise.” He has two more films in pre-production and a bunch coming after that including maybe a remake of Kurt Russell’s “Big Trouble in Little China.”

UPDATE “Charlie’s Angels” Ends Its Ignominious Run After 26 Days, with Less Than $18 Mil: Producer Leonard Goldberg Dead at 85

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UPDATED ON DEC 18, 2019: I didn’t realize that “Charlie’s Angels” producer Leonard Goldberg, a force in Hollywood and TV, passed away recently at age 85. He had great successes. It’s too bad that the failure of the new movie coincided with his passing. Condolences to his family and friends. He will be sorely missed.

EARLIER The 2019 version of “Charlie’s Angels” has ended its run in theaters. The numbers come to 26 days, $17.6 million US. The international numbers were $38.2 million for a total of $55.8 million.  Official budget was $48 million. This doesn’t mean the even broke even. It lost almost everything.

There was of course the original TV series in the 70s. Then were two hit “Charlie’s Angels” movies before this one, in 2000 and 2003. Then there was a revival TV series in 2011, which died on arrival. No matter how you look at it, this was a franchise, and a valuable one. So now what?

This “Charlie’s Angels” had no life to it, no fun, no sexiness. That was what the show was all about, smart ladies balancing personal and professional lives. It was also a little tongue in cheek by the time it reached the 2003 movie.

Now Sony and executive producer Leonard Goldberg’s company, which still owns the title and is 85 years old, have to figure out a way to save the Charles Townsend Agency from going under. Obviously, they should wait a minute to let this carcass be buried or cremated. And then do a re-think.

The next “Charlie’s Angels” movie has to have Tina Fey, Amy Poehler, Kate McKinnon, and Maya Rudolph. It also needs Jaclyn Smith, Cheryl Ladd, and Kate Jackson. It needs to tie back to what everyone loved about the original series. And it needs romance. Overtly old fashioned romance, updated. This version felt sterile. And it needs glamour. (Also, Lucy Liu.)

So for now, “Charlie’s Angels” will take a needed nap. And it’s best just to forget this ever happened. But for Sony, which also had a flop reviving “Men in Black,” maybe some new attitudes and possible team leaders on these things.

Box Office UPDATE: Clint Eastwood’s Excellent “Richard Jewell” Has $5 Mil Weekend, Killed by Controversy Over Real Life Female Reporter

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UPDATE: “Richard Jewell” was killed at the box office with just a $5 mil weekend. The movie is excellent, and the whole thing is a shame. If you can, see it. I’m very disappointed that so many forces against it– on purpose.

EARLIER Clint Eastwood’s “Richard Jewell” should be a movie everyone’s talking about right now. And indeed they are, but not for the right reasons. With a controversy surrounding it, the Warner Bros. film has had a disappointing launch on its opening night.

“Richard Jewell” made just $1.5 million on Friday night in over 2,000 theaters. Its weekend cume will come to under $4.5 million. Coupled with a lack of awards nominations– a mistake, I think — the film doesn’t have the brightest future. What a shame.

click here for all of today’s headlines

The true story of how Jewell’s life was ruined by local law enforcement, the FBI, and the media in Atlanta when he was falsely accused of bombing the 1996 Olympics is extremely well conveyed by Eastwood and a sterling cast. But the secondary plot– of a real life reporter from the Atlanta Journal Constitution sleeping with a source to break the story– has turned “Richard Jewell” into a marketing nightmare.

The AJC is conducting a war against the movie, denying that the late reporter, Kathy Scruggs, would have done such a thing. Everyone who knew Scruggs has spoken out, too, including her colleagues and her family, all in agreement that while she was unconventional, and wore short skirts (that part is the most amusing), Scruggs wouldn’t have crossed that line.

To make matters worse, the movie uses her name but not the real name of the FBI agent she supposedly slept with. So Jon Hamm’s character is basically fictional, while Olivia Wilde is representing a real person.

The debate about this plot point has come to taint what would have otherwise been a critical and possible financial hit. We’ve seen this before–a great movie can be killed in the marketing. Look at Nate Parker’s “The Birth of a Nation,” which died because of the revelation Parker had been acquitted in a college rape trial. That was the end of that movie, which was on track for awards acclaim.

Wilde, who’s so good as “Scruggs,” has defended her role. The movie company has pointed out that the AJC nevertheless was culpable in ruining Jewell’s life. But either the AJC’s campaign against the movie, or a sub rosa Hollywood campaign against “Richard Jewell,” has certainly made the movie’s situation unfavorable.

It’s not great for Warner Bros. on a different score. They’ve been unable all year to make non branded adult films catch on. (“Joker” can’t be counted in there because it comes from DC Comics.) Their last chance is “Just Mercy,” with Jamie Foxx and Michael B. Jordan, which is also excellent and just landed Foxx a SAG Awards nomination. So far, there’s no controversy (fingers crossed). “Just Mercy” deserves an Oscar comeback after disappointing rounds with the Golden Globes and Critics Choice Awards.

In the meantime, go see “Richard Jewell.” As I said when I saw it, it’s a jewel of a movie and one of Eastwood’s best.

Classic Rock Lives: Latest Townshend Daltrey Version of The Who Debuts 1st Number 1 Album Since 1971

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They’re not exactly The Who, but it’s semantics. The real Who included John Entwhistle and Keith Moon, each of whom are long deceased.

But The Who as they stand are originators Pete Townshend and Roger Daltrey. And their self-titled album sold the most copies this past week, 90 thousand. It’s their first number 1 in over thirty years. The number two album, also without streaming figures, was the very hot, very now Camilla Cabello, whose “Romance” did about 45,000 CDs and downloads.

Of course when you add in streaming, The Who came in second to someone called Roddy Ricch. But Roddy’s sales are almost purely from streaming. His 100,000 total had just 3,000 paid downloads and CDs. No one wanted to own a copy of Roddy’s album. Everyone wanted The Who.

It’s kind of amazing. But well played. The real last Who album was in 1981, it was called “Face Dances” and had the real hit, “You Better You Bet.” There was one the following year called “It’s Hard.” The single was “Athena,” so maybe that counts. But the next one was the forgettable “Endless Wire” in 2006. And then nothing til now.

So it’s been 13 years since any Who album. According to Billboard, the real last number 1 was “Who’s Next” in 1971, which, of course, is their quintessential album with “Won’t Get Fooled Again,” “Baba O’Riley,” “Behind Blue Eyes,” and so on.

The Who have had many final tours over the last 40 years. Many of them spawned live recordings, although their most famous concert album, “Live at Leeds,” was recorded in 1970.

Interesting note: thought it may seem old to you, Pete’s and Roger’s age are on the younger edge of their generation. Pete is 74, Roger is 75. They’re younger than all the Beatles, Stones, etc. They’re also in good shape. Daltrey always boasted about taking care of himself. So they’re not wrapping it up any time soon, knock wood.

The new “Who” album has some great backing musicians with Ringo’s son Zak Starkey on drums, and famed producer Lenny Waronker’s son Joey also on drums. But most of it is made by Townshend and Daltrey singing, playing and writing 97% of it. How cool is that?

The album is distinctively robust. Many of the sounds are recycled little bits and pieces from classic Who. But a lot of it is fresh and contemporary, with more topical lyrics than usual. The first time I played it I had a funny feeling, like zombies had returned to lay down tracks. But that’s because we haven’t heard this sound with new material in at least 13 if not more years. The more I played it the more I liked it. And it will be fun to hear in concert.

So god bless The Who. As long as we’re all still here, let’s enjoy them!

 

RIP Danny Aiello, the Great Actor, Loved by Everyone, Known for “Do the Right Thing,” “Moonstruck,” “The Professional”

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Danny Aiello was like the New York actor. He was a hit here before he was a hit anywhere. Everyone in New York knew him from the movies and loved him. He was our guy. And he responded that way, too. He loved everyone he met. He became friends with everyone, on a first name basis. You could tell he loved life, and appreciated his fame. He died at age 86 yesterday, and there’s an outpouring of love for him all over social media.

I could say I knew him, but he knew everyone and everyone’s names. Even if he hadn’t seen you in a while, Danny acted like you were long lost friends. He was the kind of person who made you feel good for his success.

And that success: “Godfather II.” “Fort Apache: The Bronx.” Two Woody Allen movies, “Purple Rose of Cairo,” “Radio Days.” “Moonstruck.” And then “Do the Right Thing” brought him the celebrity, the Oscar nomination, all the accolades. He was off and running. Wherever he went people wanted to hug him. That’s what you did before everyone started asking for a picture. In Elaine’s, if he stopped by, they’d be talking about it for days. Danny Aiello was here.

Thanks, Danny. It was great knowing you. The funny part now will be people going back to the old movies, and saying, Look, it’s Danny Aiello. He’s in every movie. It seemed like that.

Review: On “Fine Line,” Harry Styles Has Studied the 70s and Sung it Back to His Teen Fans: Stephen Stills Will Get a Good Laugh

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Harry Styles is a nice kid, a cute kid, with acting chops, a mandate to be a pop star. I don’t think he cares about the latter. He didn’t seem to care in One Direction, where Niall Horan was clearly the musician. Harry was the Cute One, waiting to figure out what to do with his life.

It takes a village to make an album for him. So on his second solo effort, “Fine Line,” Harry and his pit crew have studied the best of the early 70s and sung it back to his teen — mostly girl– fans. It’s not a bad idea. The only people who might object are the ones whose ideas were “borrowed.” On this record that would be Stephen Stills, Paul McCartney, Crowded House, and a few others.

The fact that Harry is an amiable presence, a guest at his own tribute, makes “Fine Line” pass without any trouble. He’s already released three singles, the best of which– “Lights Up” — did the worst. “Watermelon Sugar” is catchy and short and totally meaningless. “Adore You” sounds like Crowded House, and things could be worse.

There’s a six minute track that’s like a Paul McCartney fest called “She.” I could only listen to the first couple of minutes because Paul would have cut it there and added two more two minute chapters to make one of his famous triptychs. he lets the band perform a very 70s-esque instrumental, too.

The new song I kind of liked best was “Treat People with Kindness.” This is written by Ilsey Juber, daughter of former Wings player Laurence Juber. It’s very mid 70s Paul, and not unwelcome. (Harry so reveres solo McCartney that he named the album and its title song for a recent Paul single.)

Stephen Stills: Harry and pals studied “Love the One You’re With” and “Suite: Judy Blue Eyes.” They came up with a backing vocal on “Golden” and a whole song– “Canyon Moon”– that’s a tribute to CSN circa 1969.

Styles’ crew consists of Jeff Bhasker, Thomas Tull, and Tyler Johnson. They are his group, his producers, his writers, his tailors. He’s their voice. There’s nothing wrong with that. They’re like his own Wrecking Crew. He’s lucky to have them. I’m not unhappy they exist. Harry Styles is never going to be Elvis Costello. He has no ideas of his own. But he’s clever at arranging himself around these ideas. And it works.

This isn’t a put down. You root for him. At a time when there are few male solo acts, Styles’ career is important. Girls are going to scream. He’s not offensively ignorant like Justin Bieber, which also helps. He’s clever and charming. And that goes a long way.

PS The last song on the album is the title track. It was left off the digital press stream, so I’m just listening to it now. It’s over 6 minutes long. It’s got that faux McCartney-Crowded House sound. Harry’s team definitely went for a sound on this album that was dreamy and richly layered orchestrally, lots of bass and falsetto. Acoustic guitar floats over the top. The feel is Beatles as you wanted them to be. What’s interesting is that the lyrics to all of these songs are sexless. They want to be thought of as ‘general entertainment.’ Everyone’s included, no one gets hurt.