The Friday box office offered only good news to Universal Pictures, which has the number 1 and 2 films. “Good Boys” scored $8.3 million including Thursday previews. “Hobbes and Shaw” aka Fast and Furious did $3.8 million, kicking it up to $123.4 million after 8 days. So their Universe is happy.

But Warner Bros. can’t be too thrilled with “Blinded by the Light.” They put a lot into the Bruce Springsteen-themed feature, and even backed it up by buying Bruce’s “Western Stars” music film pre-Toronto. They went all in on Bruce, which we love. But Bruce’s fans didn’t turn out last night for “Blinded.” It’s DOA with $3 million for the weekend, $1.3 million last night.

I haven’t seen it, but “Blinded” sounded a lot like “Yesterday,” which is wrapping up a big $70 million run.

Quentin Tarantino’s “Once Upon a Time in Hollywood” is still spinning its fable about fabled Tinseltown. Should finish the weekend with $112 million. That’s still $8 million away from “Inglorious Basterds,” which finished with $120 million. “Hollywood” will not exceed Tarantino’s biggest, “Django Unchained,” at $162 million.

We knew “Where’d You Go Bernadette?” would bomb, and it did. Sad to say because it’s Richard Linklaker and Cate Blanchett. Annapurna Pictures stealths under the rubic United Artists Releasing now, but it’s Megan Ellison’s company nevertheless. They’re still smarting from “Booksmart,” which at least made $22 million. “Bernadette” will be lucky to scoop up half of that. This poor movie was never right from the beginning, so now it’s just being put out of its misery. On to bigger things!

Peter Fonda has died from lung cancer today at age 79. It was only last month that his cornerstone movie, “Easy Rider,” celebrated its 50th anniversary. Fonda wrote it (with Terry Southern and Dennis Hopper) and directed it, and most importantly conceived “Easy Rider.” Ironically, it premiered three weeks before the Manson murders.

And even though it’s not mentioned in Quentin Tarantino’s “Once Upon a Time in Hollywood,” “Easy Rider” is the movie that represents the world that Rick (Leonardo di Caprio) and Cliff (Brad Pitt) see taking their place. Fonda — maybe in a quest to impress his movie star father, Henry — took a sledgehammer to the Hollywood establishment. Nothing would ever be the same.

Peter never stopped working after the success and upheaval caused by “Easy Rider.” He starred in and directed a lost gem called “The Hired Hand.” Like “Easy Rider,” it was partly designed to establish himself in Hollywood, and not just a little to impress Henry. (After all, sister Jane was just then winning her first Oscar, for “Klute.”) He wrote on Twitter earlier this summer: “My father wept when he saw The Hired Hand. Can’t get a better review than that.”

Over the years, Peter never stopped working, and went from film to film. His two outstanding performances in later years were in Steven Soderbergh’s “The Limey,” and in Victor Nunez’s “Ulee’s Gold,” for which he received an Oscar nomination for Best Actor. He won the Golden Globe for that performance, and was nominated for a SAG Award, as well.

Like Wyatt, Peter Fonda was himself the epitome of cool. He was just like his sister, Jane, and father: articulate, funny, and really smart. He was also incredibly generous. Back around 2001, I wanted to interview Richard Widmark, a Hollywood legend. No one had talked to him in a while and he was living in Connecticut with his second wife, Susan Blanchard. By coincidence, Susan had been the third wife of Henry Fonda. Peter considered her his mother (his and Jane’s mother, Frances Seymour, had committed suicide when they were young.) Peter called Susan on my behalf, and soon I was in Richard Widmark’s living room. I’ll never be able to thank him enough.

Peter’s death is certainly untimely and way too soon. He was planning a big 50th anniversary concert and screening at Radio City Music Hall next month. Last May he was invited to Cannes for the anniversary as well. He’s part of an all star cast this October in a film called “The Last Full Measure.” And of course he leaves a devastated family including sister Jane and daughter Bridget. I will really miss running into him “on the circuit,” where he was always grinning, expansive, full of stories, and laughs. He will be sorely missed.

Last January, “Where’s My Roy Cohn?”, directed by Matt Tyrnauer, premiered at the Sundance Film Festival. Simultaneously, by coincidence, one of Cohn’s disciples, Roger Stone, was arrested after a federal indictment in Washington on seven counts, including one count of obstruction of an official proceeding, five counts of false statements, and one count of witness tampering.

The coincidence is that Stone is one of the major witnesses in “Where’s My Roy Cohn?” He lays out for Tyrnauer Cohn’s evil mind set, how he got away with committing crimes in public while all the time lying to everyone, especially the press, and how they ate it up.

Last night I attended the first screening in New York of “Where’s My Roy Cohn?” an exhausting, sad, and frightening chronicle of how Cohn, then 23 in 1953, became Senator Joseph McCarthy’s most trusted aide during the House Un-American Activities Committee hearings, destroyed lives, and accomplished the executions of Julius and Ethel Rosenberg. Cohn then used that episode to leverage an openly nefarious life that included the mentoring of Donald Trump. Cohn became notorious for never admitting to being gay, and then ironically dying of AIDS. Tyrnauer lays it out in detail. (And don’t forget Tony Kushner’s “Angels in America.”)

Cohn’s cousin, Dave Marcus, told me last night after the screening: “Roy probably had a thing for Trump. He was his type.”

You’ll need a stiff drink after the Cohn documentary, which opens in September. His path of destruction is endless for thirty years. But the evil spreads over his face. Tynauer’s assemblage of clips from Cohn’s life depict a face that literally falls apart, or implodes, as Cohn’s lies and crimes catch up with him. (Bad facelifts didn’t help.)

One Cohn episode that Tyrnauer doesn’t completely explore: how Cohn used Barbara Walters (and maybe vice versa) to propel his fame and causes. Walters was one of several New York celebrities who testified for Cohn in his disbarment trial after he’d looted several wealthy clients’ accounts. For a time in the mid 80s, Cohn and Walters actually let it be written that they were engaged. This was hogwash. But Cohn had helped Walters’ father save his nightclub, The Latin Quarter, in the 1950s. In 1991, Walters told me that Cohn had helped her adopt her daughter, Jackie. So Walters was in Cohn’s pocket, so to speak, and he used that connection as leverage for respectability.

But it’s the connection between Trump and Cohn that makes the documentary timely. Cohn taught Trump how to obfuscate, lie, divert attention from his crimes. It’s Stone, who’s used the same tactics since his arrest and indictment, who lays this out. His prosecutors should take note.

AUGUST 30TH: Has an 18 on Rotten Tomatoes. Pretty much universally panned.

AUGUST 14TH: When John Travolta’s next movie, “The Fanatic,” is released on August 30th, it will set a record held maybe only by Nicolas Cage.

“The Fanatic” will be Travolta’s 11th movie in a row since 2012 to be a total flop– lousy reviews and no business. Directed by Fred Durst, of the rock group Limp Bizkit, “The Fanatic” comes from an unknown distributor. It’s so violent that they didn’t even offer it to the MPAA for a rating. Two weeks after its release, the movie will go to video platforms.

Travolta’s last “hit” was his appearance in Oliver Stone’s “Savages” in 2012. He wasn’t the star, and few remember it. The actual hits he was last involved with were a decade ago — “Old Dogs,” and the remake of “The Taking of Pelham 1, 2, 3.”

Many of the 11 flops over the last decade weren’t even in real release. Their box office earnings weren’t reported because there weren’t any. “Killing Season,” in 2013, made just $39,881. “In a Valley of Violence,” from 2016 took in just $39,881.

Even if these films were extremely low budget, the losses on these films have to be astronomic. Travolta was always famous for huge “perk packages” on his movies. I reported years ago, for example, that his rider on “The General’s Daughter” was 32 pages and included a provision that the producers give him a gift worth $1,000 every week. Plus, he got a private chef.

Well, those days are over.

Travolta owes his last career Renaissance to Quentin Tarantino, who resurrected him in 1994 with “Pulp Fiction.” But if you noticed, Tarantino — who has kept a repertory company of actors throughout his films– never hired Travolta again.