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Tag: Matt Damon

  • Phillip Frankland Lee Brings NADC’s Viral Wagyu Burgers Home to Los Angeles

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    Phillip Frankland Lee and Neen Williams. Jake Ostrowski

    Chef Phillip Frankland Lee moved from Los Angeles to Austin during the Covid-19 pandemic, but there was not a damn chance that he was abandoning California. 

    Lee, who grew up in Los Angeles, has continued to operate Sushi by Scratch Restaurants. The Montecito outpost earned a 2021 Michelin star, and Sushi by Scratch is also going strong at its locations in Encino and the SLS Beverly Hills. Lee keeps pushing harder at Encino’s Pasta | Bar, which has had a Michelin Star for five consecutive years and was featured in Apple TV’s Knife Edge series last year. (In 2025, Lee and his brother, Lennon, made history by becoming the first siblings to earn a Michelin star at different U.S. restaurants in the same year.)

    And now he’s back in L.A. to remind his hometown that he’s also an ace at creating casual food. On Friday, Feb. 27, Lee and pro skateboarder Neen Williams will open NADC Burger’s first Los Angeles location in Westwood, near the UCLA campus. 

    NADC, which is short for Not a Damn Chance, is a wagyu burger spot that Lee and Williams already operate in Austin, New York, Chicago, Dallas, Fort Worth, Denver, Charlotte and Nashville. The menu is straightforward and habit-forming, with double wagyu cheeseburgers and beef tallow fries. 

    The menu is composed of double wagyu cheeseburgers and beef tallow fries. Jake Ostrowski

    NADC has become a viral, celebrity-friendly sensation, with clientele including David Beckham and Zedd. Jelly Roll, who has declared that NADC’s burger is the best he’s ever had, loves it so much that he serves the burger at his Goodnight Nashville honky-tonk. Matt Damon and Ben Affleck recently popped by NADC in Austin and also headed next door to Lee’s new Shokunin sushi restaurant.

    “I think what sets us apart at NADC is that I run it like I run the line at Pasta or Sushi,” Lee tells Observer. “I put as much attention into every spec when we’re building the burger.”

    There’s American cheese, secret sauce (a ketchup and mayonnaise base enhanced with Tabasco and some “little secret notes to make it extra umami”), onions, a generous amount of pickles and “slightly tamed” jalapeños that are boiled before they’re pickled. The beef is American wagyu with Japanese genetics. And when each 3-ounce patty comes off the griddle, it goes onto a resting rack with a 90-second timer so that the juices settle and excess grease drips off. This is precision-focused cooking that grew out of Lee’s backyard hangs with Williams. 

    Lee applied the same principles from his other restaurants to making the burgers at NADC. Jake Ostrowski

    Like Jelly Roll, Zedd and Joe Rogan (who collaborated with NADC on a limited-edition burger in Austin last year), Williams was a guest at the counter of Sushi by Scratch when he met Lee.

    “I was already a fan of his because I grew up skateboarding,” Lee says. “He was solo, and I always talk to everybody. He’s like, ‘Yeah, I like to cook.’ I’m like, ‘OK, cute.’ And then he shows me a picture of his backyard where he has a 12-foot masonry hearth that he built himself. I’m like, ‘Oh, you really cook.’”

    Lee and Williams started hanging out a lot, skateboarding together, getting their wives together and cooking together.

    “We did whole pigs and a lot of steaks over the fire,” Lee says. “And one thing we were doing often was burgers.”

    Lee had recently returned from Bangkok, where he had been working on a sushi restaurant and a burger spot that never opened due to the pandemic. So he was in the mood to make burgers, and he and Williams started giving away burgers at Austin skateparks and comedy shows. That led to a 2022 pop-up and then, in 2023, NADC’s first brick-and-mortar location.

    Jelly Roll, a huge fan of the NADC burger, was a guest on Lee and Williams’ ‘Not A Damn Chance!’ podcast. YMH Studios

    The success of NADC has spawned the Not A Damn Chance! podcast, with Lee and Williams talking to guests like Jelly Roll, Zedd, Bert Kreischer, Tom Segura, Mel Robbins, Aaron Franklin and poker pro Doug Polk. Lee is an avid poker player who’s done well in tournaments. And to use a gambling term, he’s been on some kind of rush, opening restaurant after restaurant.

    Lee didn’t have any intention of moving to Austin when he went there in 2020 for a sushi pop-up. But after he saw that pop-up sell out with a 25,000-person waiting list, he kept it going month to month. After five months in Austin, Lee looked at his wife, pastry chef Margarita Kallas-Lee, and said, “I think we live in Austin now.”

    Lee has built a new life in Texas, where he’s now working to create his most over-the-top project yet. He’s found four acres in Hill Country, about half an hour from Austin, where he plans to have a farm, inn and restaurant with aspirations at three-Michelin-star status and World’s 50 Best recognition.

    “We will grow or harvest most of the menu and hunt the rest of the menu,” Lee says. “We’ll milk cows in the morning to get the cream to make butter. We’ll get dairy cows from a local farm and finish them on the grain of the local brewery and the mash of the local olive oil mill.” 

    Lee is nothing if not ambitious. In 2017, when he was 30 years old, he told me he wanted to have “100 world-class restaurants” by the time he was 50. The pandemic slowed him down a bit, but the L.A. location of NADC Burger puts him at 30 restaurants, and he still thinks he’ll hit his lofty goal.

    “I’m the same age Thomas Keller was when he took over The French Laundry, and you could argue that was the beginning of his career,” Lee says. “I’m going to be 39 on March 9, so I’m still young. I think I’ll probably surpass 100 restaurants by the time I’m 50. But I don’t think I’m doing it for the same reasons that made me want to do it before.” 

    All the success he’s had has motivated him in a more meaningful way. 

    “I’ve now gotten the stars and the TV and the accolades and the personal freedom to feel like I’ve ‘done it,’” Lee says. “But I think I now get off on different things. It used to be more ego-driven. Now I look around and see someone who comes on as a prep cook, moves all the way into executive chef in our company, has a child and gets a fully paid paternity or maternity leave. They’re getting a 401(k). I have cooks and bartenders buying houses. The more I grow, the more we grow.”


    NADC Burger, located at 1091 Broxton Ave, Los Angeles, CA 90024, will be open seven days a week from 11:30 a.m. to midnight.

    Phillip Frankland Lee Brings NADC’s Viral Wagyu Burgers Home to Los Angeles

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    Andy Wang

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  • Matt Damon Calls Oscar Campaigning ‘Backwards’ and Says Nolan’s ‘The Odyssey’ Felt Like the ‘Last Big Movie on Film That I’m Ever Going to Make’

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    Matt Damon appeared on Netflix’s “Skip Intro” podcast during his press tour for the streamer’s crime thriller “The Rip,” which happens to be releasing in the thick of Oscar season. Damon is no stranger to the awards campaigning with three acting Oscar noms under his belt and a screenplay win for “Good Will Hunting.” He recently hit the trail hard as a cast member in Christopher Nolan’s “Oppenheimer,” which won best picture in 2024.

    When podcast host Krista Smith asked Damon what he likes missing out on when it comes to Hollywood, the actor didn’t hesitate with an answer: “Awards season. 100%.”

    “What I don’t like is this idea of campaigning,” Damon explained. “It seems completely backwards to me and odd. Maybe it’s good for movies, just having it all out there and gets the culture thinking and talking about movies. I hope that’s the case…”

    Unfortunately for Damon, he is likely to be campaigning once again during the 2025-2026 Oscar season as the star of Christopher Nolan’s “The Odyssey.” The actor told Smith that he is “still kind of unpacking” the experience of making Nolan’s Greek epic but noted: “It did have a profound effect on me.”

    “Doing ‘The Odyssey’ this last year, it felt like my one chance in my life to make a David Lean movie, you know?” Damon said. “That I was making the last big movie on film that I was ever going to get to make.”

    Damon had previously said of the film: “If I look objectively at what was required to do that job, I think it came at just the right time in my life. I think I would have been miserable 20 years ago, trying to do that job. You were uncomfortable every day. But I really enjoyed, like, deeply enjoyed every minute of it,”

    “Intellectually, I understood that concept of you’re not in control of what happens, but you are in control of how you feel about it — it’s easier said than done,” he continued. “But to really feel gratitude — and I think because it was tied into not only the joy of being able to have a role that great with a director that great with a group of people that great and a story that great, but in that sense of nostalgia I had for how I started, how I came into the business, the feeling I had when I was shooting ‘School Ties’ and Freddie Francis was the cinematographer and I, you know, and I was like, ‘This is really happening.’”

    “The Odyssey” is the first Hollywood feature film to be entirely shot with Imax film cameras. Damon previously marveled over the technical feat on an episode of the “New Heights” podcast.

    “Imax cameras are really loud. It sounds like a blender, like a Cuisinart in your face when the camera’s close to you. So there’s never been these dialogue [scenes in Imax],” Damon said. “We couldn’t have this conversation with a normal Imax camera because you wouldn’t be able to hear us. They built this giant thing around the Imax for those dialogue scenes and a system of mirrors so your eye line would be close to the camera and you could talk to the other actor. The amount of work that went into figuring out how to do [that], because he wanted to do 100 percent Imax and he did it!”

    A new Imax film casing called a “blimp” was created for “The Odyssey” to significantly reduce the noise Imax cameras produce.

    “The blimp system is a game-changer,” Nolan told Empire magazine last year. “You can be shooting a foot from [an actor’s] face while they’re whispering and get usable sound. What that opens up are intimate moments of performance on the world’s most beautiful format.”

    Watch Damon’s full interview on Netflix’s “Skip Intro” podcast in the video below.

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    Zack Sharf

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  • Matt Damon Says Netflix Wants Plots Reiterated “Three or Four Times in the Dialogue” for Phone-Distracted Viewers

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    Matt Damon and Ben Affleck are opening up about the changes Netflix has made to its filmmaking approach.

    During a Friday appearance on the Joe Rogan Experience to promote their new Netflix film The Rip, which they star in and produce, the duo discussed the differences between watching a movie in theaters versus at home and how phone-distracted viewers are influencing how films are made.

    “I went to see One Battle After Another on IMAX — there’s nothing like that feeling,” Damon said, recalling a trip he took with his family. “You’re in with you know a bunch of strangers, but people in your community and you’re having this experience together. I always say it’s more like going to church — you show up at an appointed time. It doesn’t wait for you.”

    Watching at home is a very different experience, Damon said. “You’re watching in a room, the lights are on, other shit’s going on, the kids are running around, the dogs are running around, whatever it is. It’s just a very different level of attention that you’re willing, or that you’re able to give to it.”

    Damon then explained how that shift is now affecting how movies are made.

    “For instance, Netflix — the standard way to make an action movie, that we learned, was you usually have three set pieces. One in the first act, one in the second, one in the third — and the big one with all the explosions and you spend most of your money on that one in the third act. That’s your kind of finale.”

    The Departed actor added, “Now, [Netflix is] like, ‘Can we get a big one in the first five minutes?’ We want people to stay tuned in. And it wouldn’t be terrible if you reiterated the plot three or four times in the dialogue because people are on their phones while they’re watching.”

    After laughing with Rogan, Damon added, “It’s going to really start to infringe on how we’re telling these stories.”

    Affleck then chimed in, “But then you look at Adolescence and it didn’t do any of that shit and it was fucking great.”

    Damon agreed but said, “It feels more like the exception,” adding, “I hope it’s not.”

    “My feeling is just that it demonstrates that you don’t need to do any of that shit to get people [to watch],” Affleck said.

    He also noted that streaming doesn’t pose an “existential threat” and that “things shift. As television came along, there was less theater-going and that’s still going to happen. And people are still going to go to the movies because of what you said. It feels like a cool thing to do. ‘I’m going to go see The Odyssey. I guarantee you in a theater, no matter what.”

    For The Rip, which the filmmakers produced through their company Artists Equity, Affleck and Damon pushed Netflix to strike a deal that would reward their crew with bonuses if the film performs well — a departure from the streaming service’s business model of only paying fees up front.

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    Lexi Carson

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  • ‘The Rip’ Review: Genre Pro Joe Carnahan Keeps Matt Damon and Ben Affleck’s Gritty Netflix Cop Thriller in Confident Hands

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    Writer-director Joe Carnahan bows at the altar of Michael Mann in The Rip, from the foreboding Miami nightscapes to a pulsing synth score by Clinton Shorter that echoes the tense atmosphere of classics like Thief and Heat. That’s not to say this gripping Netflix cop thriller is derivative, especially given that Carnahan has his own foundations in the genre, starting with his neo-noir breakthrough, Narc. While his new film doesn’t reshape the mold, an ace cast led by Matt Damon and Ben Affleck — who produced under their Artists Equity banner — and twisty plotting that bristles with paranoia and mistrust make it an entertaining watch.

    Inspired by true events, the film kicks off with a prologue in which Miami-Dade narcotics division captain Jackie Velez (Lina Esco) speeds through a rainy night while trying to keep a woman on the other end of the phone calm. She promises to protect her and get her out of a dangerous situation, but before she can reach the distressed woman, Jackie is shot and killed by two men in ski masks. She manages to send one quick text before disposing of her burner phone.

    The Rip

    The Bottom Line

    Brawny and efficient.

    Release date: Friday, Jan. 16
    Cast: Matt Damon, Ben Affleck, Steven Yeun, Teyana Taylor, Sasha Calle, Catalina Sandino Moreno, Scott Adkins, Kyle Chandler, Néstor Carbonell, Jose Pablo Cantillo, Lina Esco
    Director-screenwriter: Joe Carnahan

    Rated R,
    1 hour 52 minutes

    The action shifts to police headquarters, where a series of interrogations is underway. Lt. Dane Dumars (Damon), who has been promoted to fill Jackie’s spot, urges his chief, Major Thom Vallejo (Nestor Carbonell), to let his team take charge of the case. But Vallejo, struggling with budget cuts and allegations of corruption in the force, defers to the Feds.

    Dane is suspicious that a cop killing has yielded such a low-key internal investigation, with no task force. This comes as the Violent Criminal Apprehension Team has been shut down, with further job cuts threatened.

    Dane’s old friend and second in command, Det. Sgt. J.D. Byrne (Affleck), shares his suspicions, snarling defensively at insinuations from the Feds that a dirty cop might have been behind Jackie’s murder. J.D.’s involvement is complicated by the badly kept secret of his relationship with Jackie and by heightened friction with one especially aggressive FBI agent, Del (Scott Adkins), who turns out to be his brother.

    Carnahan and editor Kevin Hale keep the audience on its toes piecing together fragments of background information as they intercut among various interrogations. The Feds also question the rest of the Tactical Narcotics Team: detectives Mike Ro (Steven Yeun), Numa Baptiste (Teyana Taylor) and Lolo Salazar (Catalina Sandino Moreno).

    Later, while the team is unwinding at the end of a shift, Dane shares news of a crime-stopper tip about a cartel stash house in neighboring Hialeah, and despite disgruntlement about a freeze on overtime pay, he musters his colleagues to go investigate.

    The sniffer dog handled by Lolo starts barking up a storm even before they knock on the door. He then bolts up the stairs as soon as they enter, heading for an attic, which unlike the rest of the cluttered house, is pristine and empty. The sole occupant is a young woman named Desi (Sasha Calle), who claims the house belonged to her recently deceased grandmother and says she has never even been in the attic. But once the TNT officers smash through a false wall and find $20 million in cash, her innocence seems a stretch.

    That elaborate setup is about as far as a reviewer can go without wading into spoiler territory. But one key factor worth knowing is that Miami-Dade police procedure requires a full count of cash seized from stash houses before the officers leave the scene. That allows time for suspicions to fester and loyalties to be tested, as the amount mentioned on the alleged crime-stopper tip keeps changing, and Dane remains reluctant to phone in their findings to the major.

    Threatening anonymous calls give them a half-hour to take a cut of the millions and get out of there before people start dying. Desi, handcuffed to a chair, is the most nervous as she slowly reveals what she knows about the other people who make intermittent use of the house.

    Two shady-looking cops in a Hialeah patrol car asking questions raises the temperature, as does what appears to be a widening rift between Dane and J.D. Tensions escalate among the team, even before a hailstorm of bullets rains down on them, wounding Lolo; a cartel member is spotted signaling from a nearby house; and former cop turned DEA officer Matty Nix (Kyle Chandler) turns up in an armored truck and starts meddling.

    Carnahan shows skill at bouncing suspicion from one character to another as the destination of the $20 million remains up for debate and the time until the forewarned siege is meant to happen continues shrinking. The plotting gets a bit muddy at times, but the movie keeps sneaky surprises up its sleeve — including the connection of the case to Jackie’s murder — while also illuminating unexpected complicity between law enforcement and drug traffickers that blurs the lines as to what qualifies as corruption. The notion of who exactly are the good guys is questioned, perhaps a little too pointedly, in the acronyms tattooed across Dane’s knuckles.

    The muscular direction, moody visuals and Shorter’s glowering score keep the action humming, but the real key is the sharply drawn characters of a highly capable cast.

    The long friendship and creative collaboration between Damon and Affleck adds history to their onscreen rapport. Dane appears calm and methodical, albeit broken by the end of his marriage and the loss of his 10-year-old son to cancer. J.D. is more of a hothead, his volatile energy constantly threatening to explode. Yeun’s air of gentleness and honesty is put to good, perhaps misdirecting use, as is Chandler’s relaxed manner and mildly folksy affability.

    The women disappear from the testosterone-heavy film for a significant stretch, creating an absence. But there’s an understated edge to Taylor and Moreno’s interplay that makes their characters intriguing.

    Calle — who made an impression as Supergirl in Andy Muschietti’s unfairly mistreated The Flash and appeared in the poetic coming-of-age drama In the Summers, which won Sundance’s Grand Jury Prize in 2024 — walks a shrewd line with her character. Desi has the sullen guardedness of someone who knows not to trust cops and the vulnerability of a woman steadily realizing she’s in over her head.

    The Rip doesn’t reinvent the cops-in-a-pressure-cooker genre, but its mix of closed-quarters tension, car chases and gunfire gets the job done. Thanks to Carnahan and his accomplished cast, it’s both more convincing and more watchable than the average original streaming movie.

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    David Rooney

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  • The Odyssey Trailer Proves This Could Be Christopher Nolan’s Best Movie

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    The Odyssey could wind up being Christopher Nolan’s best movie yet.

    Nolan’s The Odyssey will be released in United States theaters on July 17, 2026, from Universal Pictures. An adaptation of the ancient Greek epic by Homer, its stars Matt Damon as Odysseus, Tom Holland as Telemachus, and Anne Hathaway as Penelope.

    Why could The Odyssey be Christopher Nolan’s best movie?

    With a new trailer for The Odyssey having recently been released, this movie has the best to be in Nolan’s filmography yet, as it looks completely different than anything he’s done before. 

    Nolan is great at experimenting with different genres. He goes back to the sci-fi well relatively often — 2010’s Inception, 2014’s Interstellar, and 2020’s Tenet — but he’s also willing to try something new. He’ll make a Batman movie, then he’ll make something about dueling magicians. A war movie and a biopic. We’ve yet to see something like a romantic comedy from him, but maybe someday we could.

    Whenever Nolan takes on a new genre, the results are typically fantastic. The common consensus might be that The Dark Knight is the best of his Batman movies, but Batman Begins is still highly regarded among the superhero film community. When he took on the war movie genre, we got Dunkirk, which was fantastic. And his biopic about J. Robert Oppenheimer won all kinds of Academy Awards, including Best Picture.

    Taking on the fantasy genre is a big turn for Nolan — again, he’s never really done anything like this. It looks to be his biggest movie purely in terms of scope to date, and the trailer already proves that he knows exactly what he’s doing. And it doesn’t even show us all too much, as we’ve yet to glimpse the Cyclops or the Sirens.

    We’ll have to wait until next summer to see how it all turns out, but The Odyssey should have all Christopher Nolan fans very, very excited.

    Originally reported by Brandon Schreur at SuperHeroHype.

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    Evolve Editors

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  • What to Stream: ‘Stranger Things,’ ‘Mickey 17,’ Kevin Hart and ‘A Grand Ole Opry Christmas’

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    Bong Joon Ho’s “Mickey 17,” a new batch of “Stranger Things’” final season and Kevin Hart debuting a new comedy special on Netflix are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: “Everybody Loves Raymond” gets a 30th anniversary special on CBS, the Hallmark’s special “A Grand Ole Opry Christmas” with Brad Paisley and Mickey Guyton, and a new Beatles documentary series hits Disney+.

    New movies to stream from Nov. 24-30

    —Taiwanese filmmaker Shih-Ching Tsou, known for collaborating with and producing several Sean Baker films including “Tangerine” and “The Florida Project,” makes her solo directorial debut with “Left-Handed Girl,” about a single mother and her two daughters who return to Taipei to open a stand at a night market. Netflix acquired the film after it was warmly received during the Cannes Film Festival and Taiwan has already selected the film as its Oscar submission. It begins streaming on Netflix on Nov. 28.

    —Bong Joon Ho’s “Mickey 17” arrives on Prime Video on Thursday, Nov. 26, for some dystopian holiday viewing. In her review for The Associated Press, Jocelyn Noveck praised Robert Pattinson’s performance (or, rather, performances) as an expendable who is constantly being reprinted anew. She writes, “It’s his movie, and he saves it from Bong’s tendencies to overstuff the proceedings. In an extremely physical, committed, even exhausting performance, Pattinson takes what could have been an unwieldy mess and makes it much less, well, expendable.”

    —OK, “The Last Duel,” streaming on Hulu on Sunday, Nov. 30 might be four years old but it’s a far better option than, say, “Flight Risk” (on HBO Max on Wednesday). Ridley Scott’s medieval tale, written by Matt Damon, Ben Affleck and Nicole Holofcener, is a brilliant spin on the historical epic told from three different perspectives, Damon’s Jean de Carrouges, Adam Driver’s Jacques Le Gris and Jodie Comer’s Marguerite. In his review for the AP, film writer Jake Coyle wrote that it “is more like a medieval tale deconstructed, piece by piece, until its heavily armored male characters and the genre’s mythologized nobility are unmasked.”

    AP Film Writer Lindsey Bahr

    New music to stream on Nov. 24-30

    — In 2021, over Thanksgiving, Disney+ released Peter Jackson’s six-hour “The Beatles: Get Back” to its streaming platform. The gargantuan project provided fans with a deep-dive into the band’s “Let It Be” sessions – including footage of their entire rooftop concert, shared in full for the first time. It was an ideal release date, to say the least. After all that delicious food, who doesn’t want to settle in for a lengthy journey into one of the greatest musical acts of all time? Well, in 2025, there’s yet another reason to be grateful: Starting Wednesday, “The Beatles Anthology” documentary series hits Disney+. That’s nine episodes tracing their journey. Lock in.

    — ’Tis the season for Hallmark holiday films. And for the country music fanatic, that means “A Grand Ole Opry Christmas.” The film follows a woman forced to confront her musical past and heritage in the esteemed venue – and there may or may not be some time travel and Christmas magic involved. Stay tuned for the all-star cameos: Brad Paisley, Megan Moroney, Mickey Guyton, Rhett Akins, Tigirlily Gold and more make an appearance. It starts streaming on Hallmark+ Sunday.

    AP Music Writer Maria Sherman

    New series to stream from Nov. 24-30

    — It’s hard to believe that “Everybody Loves Raymond” has been off the air for two decades. The multicamera sitcom starred Ray Romano and Patricia Heaton as Ray and Debra Barone, a young married couple whose daily lives are interrupted regularly by Ray’s meddling parents, played by Peter Boyle and Doris Roberts, who live across the street. CBS recently taped a 30th anniversary special to air Monday which will also stream on Paramount+. Hosted by Romano and creator, Phil Rosenthal, it recreates the set of the Barone living room and features interviews with cast members including Romano, Heaton, Brad Garrett and Monica Horan. There will also be a tribute to Boyle and Roberts who died in 2006 and 2016, respectively. It’s fitting for the special to come out around the holidays because its Thanksgiving and Christmas episodes were top-notch. All nine seasons stream on both Paramount+ and Peacock.

    — ” Stranger Things” is finally back with its fifth and final season. Netflix is releasing the sci-fi series in three parts and the first four episodes drop Wednesday. Millie Bobby Brown says fans will “lose their damn minds” with how it ends.

    — Also Monday, Kevin Hart debuts a new comedy special on Netflix. It’s called “Kevin Hart: Acting My Age.” The jokes center around, you guessed it, aging.

    — A new “Family Guy” special on Hulu pokes fun at those holiday movies we all know, love and watch. It’s called “Disney’s Hulu’s Family Guy’s Hallmark Channel’s Lifetime’s Familiar Holiday Movie” and pokes fun at the commonly-used trope of a big city gal who ends up in a small town at Christmas and falls in love. It drops Friday, Nov. 28 on Hulu and Hulu on Disney+.

    Alicia Rancilio

    New video games to play from Nov. 24-30

    — Artificial intelligence: friend to all humanity or existential threat to the planet? In A.I.L.A, Brazilian studio Pulsatrix leans toward the latter. You play as a game tester who’s asked to try out an AI-created horror story. But while you’re busy fighting off ghosts, zombies and ax murderers, the AI may be up to something more nefarious in the background — which could be bad news if you own a smart refrigerator. It all has the potential to be very meta, whether or not you welcome our new robot overlords. It arrives Tuesday on PlayStation 5, Xbox X/S and PC.

    Lou Kesten

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  • Poker’s NBA-and-Mafia betting scandal echoes movie games, and cheats, from ‘Ocean’s’ to ‘Rounders’

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    LOS ANGELES (AP) — The stakes. The famous faces. The posh private rooms. The clever cheating schemes.

    The federal indictment of a big-money poker ring involving NBA figures on Thursday, in which unsuspecting rich players were allegedly enticed to join then cheated of their money, echoed decades of movies and television, and not just because of the alleged Mafia involvement.

    Fictional and actual poker have long been in sort of a pop-cultural feedback loop. When authorities described the supposed circumstances of the games, they might’ve evoked a run of screen moments from recent decades.

    Poker in ‘Ocean’s Eleven,’ ‘Molly’s Game’ and ‘The Sopranos’

    A 2004 episode of “ The Sopranos ” showed a very similar mix of celebrities and mobsters in a New York game whose players included Van Halen singer David Lee Roth and football Hall-of-Famer Lawrence Taylor, both playing themselves.

    In 2001’s “Ocean’s Eleven,” George Clooney finds his old heist buddy Brad Pitt running a poker game for “Teen Beat” cover boys including Topher Grace and Joshua Jackson, also playing themselves. Clooney spontaneously teams with Pitt to con them. And the plot of the 2007 sequel “Ocean’s Thirteen” centers on the high-tech rigging of casino games.

    Asked about the relevance of the films to the NBA scandal, which came soon after a story out of Paris that could’ve come straight out of “Ocean’s Twelve,” Clooney told The Associated Press with a laugh that “we get blamed for everything now.”

    “‘Cause we also got compared to the Louvre heist. Which, I think, you gotta CGI me into that basket coming out of the Louvre,” Clooney said Thursday night at the Los Angeles premiere of his new film, “Jay Kelly.” He was referring to thieves using a basket lift to steal priceless Napoleonic jewels from the museum.

    2017’s “Molly’s Game,” and the real-life memoir from Molly Bloom that it was based on, could almost serve as manuals for how to build a poker game’s allure for desirable “fish” in the same ways and with the same terminology that the organizers indicted Thursday allegedly used.

    The draw of Bloom’s games at hip Los Angeles club The Viper Room were not NBA players, but Hollywood players like Leonardo DiCaprio, Tobey Maguire and “The Hangover” director Todd Phillips. (None of them were accused of any wrongdoing.)

    In the movie written and directed by Aaron Sorkin, Bloom, played by Jessica Chastain, describes the way a famous actor acts as an attractor for other players, the same way officials said Thursday that NBA “face cards” did for the newly indicted organizers.

    The unnamed actor, played by Michael Cera, was at least partly based on the “Spider-Man” star Maguire.

    “People wanted to say they played with him,” Chastain says. “The same way they wanted to say they rode on Air Force One. My job security was gonna depend on bringing him his fish.”

    In her book, Bloom described the allure for the players she drew.

    “The formula of keeping pros out, inviting in celebrities and other interesting and important people, and even the mystique of playing in the private room of the Viper Room added up to one of the most coveted invitations in town,” she writes, later adding that “I just needed to continue feeding it new, rich blood; and to be strategic about how to fill those ten precious seats.”

    Bloom would get caught up in a broad 2013 nationwide crackdown on high-stakes private poker games, probably the highest profile poker bust in years before this week. She got a year’s probation, a $1,000 fine, and community service.

    There were no accusations of rigging at her game, but that didn’t make it legal.

    The legality of private-space poker games has been disputed for decades and widely varies among U.S. states. But in general, they tend to bring attention and prosecution when the host is profiting the way that a casino would.

    A brief history of movies making poker cool

    Poker — and cheating at it — has run through movies, especially Westerns, from their silent beginnings.

    Prominent poker scenes feature in 1944’s “Tall in the Saddle” with John Wayne and 1950’s “The Gunfighter” with Gregory Peck.

    “The Cincinnati Kid” in 1965 was dedicated entirely to poker — with Steve McQueen bringing his unmatched cool to the title character.

    A pair of movies co-starring Robert Redford and Paul Newman really raised the game’s profile, though.

    In the opening scene of 1969’s “Butch Cassidy and the Sundance Kid,’ a hyper-cool Redford is playing poker and refuses to leave until another player takes back a cheating accusation.

    In 1973’s Best Picture Oscar winner “The Sting,” 1930s con-men Newman and Redford seek revenge against a big fish and run a series of increasingly bold gambling scams that could’ve come from Thursday’s indictments. Newman out-cheats the man at poker to set him up for the big con, a phony radio horse race.

    The 1980s saw a dip in screen poker, with the subject largely relegated to the TV “Gambler” movies, starring Kenny Rogers, based on his hit song.

    But the end of the decade brought a poker boomlet from the increased legalization of commercial games.

    Then, at possibly the perfect moment, came “Rounders.” The 1998 Matt Damon film did for Texas Hold ’em what “Sideways” did for pinot noir and “Pitch Perfect” did for a cappella: it took an old and popular phenomenon and made them widespread crazes.

    Soon after came explosive growth in online poker, whose players often sought out big face-to-face games. And the development of cameras that showed players’ cards — very similar to the tech allegedly used to cheat players, according to the new indictments — made poker a TV spectator sport.

    The “Ocean’s” films and the general mystique they brought piled on too.

    Clooney, talking about the broader set of busts Thursday that included alleged gambling on basketball itself, pointed out that his Cincinnati Reds were the beneficiaries of sport’s most infamous gambling scandal, the 1919 “Black Sox” and the fixing of the World Series, “so I have great guilt for that.”

    “But you know there — we’ve never had a moment in our history that we didn’t have some dumb scandal or something crazy,” he said. “I feel very bad for the gambling scandal ’cause this was on the night that, you know, we had some amazing basketball happen.”

    —-

    Associated Press writer Leslie Ambriz contributed to this report.

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  • Good Will Hunting: A Masterclass in Therapy and Emotional Growth

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    Take a deep dive into the therapeutic relationship as illustrated in the classic film Good Will Hunting, where a defiant genius and a compassionate therapist confront pain, grief, and regret in an emotional journey that changes them both.


    Good Will Hunting (1997) is a widely acclaimed cinematic masterpiece, offering one of the most compelling depictions of therapy ever portrayed on screen — and it remains one of my personal favorite movies of all time.

    The main protagonist is Will Hunting (played by Matt Damon) who is portrayed as an underachieving genius who works a modest life as a janitor at the prestigious MIT. Despite his intelligence, he’s emotionally guarded and frequently gets into brawls and run-ins with the law. One day he solves a difficult math equation on a chalkboard and is then approached by professors and faculty to pursue his talents in mathematics, but first he has to see a therapist and work out his personal problems.

    Will’s journey into therapy begins reluctantly with a typical “I don’t need to see a shrink” attitude. But after a series of arrests and getting bailed out, he’s court-ordered to start seeing someone. He cycles through five therapists, including a hypnotist, antagonizing each one to the point that they refuse to work with him. Will’s sharp intellect and deep emotional defenses make it nearly impossible for anyone to break through and connect with him.

    Finally he meets Sean Maguire (played by Robin Williams), a compassionate but no-nonsense therapist with a rich life of experiences, including deep wounds from his past, and accumulated wisdom. This article breaks down their relationship, session by session, to explore how it evolved throughout the film and potential lessons we can takeaway from it.

    First Meeting: Tensions and Boundary Testing

    Will’s first meeting with Sean begins with his usual strategy of intellectual dominance and boundary testing.

    He scans Sean’s office, searching for things to criticize, and immediately targets his book collection. “You people baffle me. You spend all this money on beautiful, fancy books, and they’re the wrong f***ing books.” Sean, unfazed, spars back, standing his ground while playfully naming books he assumes Will has read.

    Things reach a climax in the scene when Will begins to mock a painting hanging on the wall, which hits a personal nerve for Sean regarding the grief and loss of his wife. Sean’s reaction is striking and unconventional. After listening patiently, he suddenly grabs Will by the throat and threatens him: “If you ever disrespect my wife again, I will end you.”

    While it’s an unethical move for a therapist, this unorthodoxy shows Will that he is not dealing with an ordinary therapy. Both Will and Sean share working class Irish backgrounds in the hard streets of Boston. Sean knows this language and he is willing to speak it if it’s the only way to get through to Will. Sean thus establishes himself as someone who understands Will’s world, where strength and confrontation often dominate.

    This moment lays the foundation for their relationship. Sean shows he’s human, not just a clinical professional, but also that he won’t be intimidated or dismissed by Will’s antics. It’s the first step in breaking down Will’s defenses.

    The Bench Scene: A Turning Point

    After their intense first meeting, Sean invites Will to a park, where he delivers one of the most memorable monologues in the film. Sean begins by admitting his vulnerability, sharing that Will’s comments about the painting kept him up all night and genuinely bothered him.

    By admitting Will’s comments hurt him, Sean shows he’s willing to show weakness, but then he sharply pivots to challenge Will directly, “But then you know what occurred to me? You’re just a kid. You don’t have the faintest idea what you’re talking about.”

    Sean goes on to explain that despite Will’s intellectual brilliance, he lacks lived experience. Sean shares personal moments that defined him — seeing the Sistine Chapel in person, being truly in love with someone, the scars of losing friends in war, and watching a loved one die of cancer. These deep experiences illustrate the limitations of knowledge without life. Sean’s speech is a blend of tough love and empathy, forcing Will to confront the gap between his intellectual defenses and his emotional reality.

    good will hunting bench

    The bench scene sets the tone for the remainder of their therapy. Sean acknowledges Will’s brilliance but challenges him to live beyond books and theories. Sean leaves the door open for Will to continue having sessions with him only if he is ready to truly open up.

    Second Therapy Session: Silence

    The next therapy session begins with complete silence as Sean and Will sit across from each other. After two emotionally charged meetings and still lingering tensions, neither is willing to be the first to reach out or break the quiet.

    The entire hour goes by and neither says a word. While this may feel like an unproductive session, this is another important moment in their relationship. The power of silence acts as a reset button in their relationship.

    Sometimes, simply sitting in the same room without confrontation (“sharing space”) can be a meaningful step toward healing. It allows both Sean and Will to recalibrate, setting the stage for a more productive dynamic moving forward.

    Third Therapy Session: Humor and Opening Up

    The silence stand-off continues into their third session, with each still not willing to budge or say the first word.

    Finally Will breaks the silence with a dirty joke, immediately breaking the tensions in the room and reinitiating conversation in a fun and light-hearted way. After they share a laugh, Will begins to open up about a girl he’s been dating recently. Will mentions how he worries the girl is “too perfect,” and that getting to know her more would just shatter that illusion. Sean wisely responds back, “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Sean opens up about his wife and the quirks behind their love, like her farting in her sleep and waking up the dog. After all these years, these are the little moments he remembers and cherishes about her. No one is “perfect,” and it’s often the imperfections that make someone special to us.

    good will hunting laugh

    Robin Williams improvised the story about his wife causing Matt Damon to genuinely burst out into laughter during this scene.


    After more light-hearted banter, Will turns the tables and ask why Sean never got remarried. Will firmly replies, “My wife is dead.” Then Will, always testing and challenging, uses one of Sean’s lines against him: “That’s a super philosophy, that way you can go through your entire life without ever really getting to know anybody.”

    Fourth Therapy Session: Love, Opportunities, and Regrets

    Now on much more amicable terms, Will opens up with an honest question, “Do you ever wonder what your life would be like if you never met your wife?”

    Sean accepts that there’s been a lot of pain and suffering in his relationship, but he doesn’t regret any of it, because the good moments were worth it and he wouldn’t trade a single day with her through good or bad times. Will presses to learn more, “When did you know she was the one?”

    “October 21, 1975.”

    It was game six of the World Series, the biggest game in Red Sox history – and Sean slept on the sidewalk all night with friends to get tickets. He recalls the momentous occasion when the Red Sox hit a game-winning home run and everyone rushed the field.

    “Did you rush the field?”

    “Hell no, I wasn’t there. I was in a bar having a drink with my future wife.”

    The story illustrates how Sean knew his wife was the one when he was willing to miss the opportunity of a life-changing moment (being at a historical sporting event) for an even bigger life-changing moment (finding love and his future wife).

    Will is incredulous and yells at Sean for missing the game. He asks, “How did your friends let you get away with that?” And Will simply replies, “I just slid my ticket across the table and said, ‘Sorry guys, I gotta see about a girl.’”

    Fifth Therapy Session: Facing Potential and Values

    In this session, Will begins to ask deep questions about what he wants to do with the rest of his life and what are the best uses of his intelligence and talents.

    After a job interview with the NSA, Will goes into a diatribe about how his talents could be hypothetically used for catastrophic consequences, like overthrowing foreign governments, destabilizing entire countries, or getting his friends sent to fight some war overseas.

    Sean asks him directly, “What are you passionate about? What do you want?”

    They discuss the honor of work, including construction work and Will’s job as a janitor and the pride he takes in it, even though society may not view it as the most rewarding job in the world. Sean prods further asking why he chose to be a janitor at the most prestigious technical university in the world, and why he secretly finished math problems, highlighting that there may be something else driving Will.

    Sean asks again what Will wants to do with his life, and he deflects by joking that he wants to be a shepherd on his own plot of land away from the world. Sean isn’t willing to waste his time and decides to end the session early. Will has a final outburst before leaving, “You’re lecturing me on life? Look at you, you burnout!”

    This session reveals how Will is afraid of his potential and talents, including the responsibility that comes with them. “I didn’t ask to be born like this.” He feels safe continuing to live in his hometown, work his everyday job, and hangout with his childhood friends. He’s afraid to dream bigger. There may be something deeper driving Will’s thirst for knowledge, but he doesn’t know his core values and motivations, and doesn’t truly know himself or what he wants out of life.

    Sixth Therapy Session: “It’s Not Your Fault”

    The next therapy session begins with Sean uncovering more about Will’s painful past, particularly his life as an orphan and the physical abuse he endured with his foster parents. Sean reveals that he, too, grew up with an abusive, alcoholic father, forging another shared bond between them.

    As their conversation unfolds, Will correctly guesses that his final psychological report likely diagnoses him with “attachment issues” and a “fear of abandonment.” He acknowledges that these issues may have driven him to push his girlfriend away, leading to their recent breakup. When Sean gently asks if he wants to talk about it, Will declines.

    Sean then shifts the focus, holding onto the reports as he says, “I don’t know a lot. But you see this? All this shit? It’s not your fault.”

    At first, Will politely agrees, brushing off the comment, but Sean repeats the line: “It’s not your fault.” With each repetition, Will’s emotional defenses begin to crumble, and he cycles through a range of emotions—politeness, confusion, anger, and aggression—until the weight of Sean’s words fully sinks in. Overwhelmed, Will finally breaks down and cries, releasing years of suppressed pain and guilt.

    good will hunting

    In this profoundly cathartic moment, Sean embraces Will, offering the safe and empathetic connection that has been absent from Will’s life. It’s a turning point where Will confronts his past without blame or self-judgment, finally opening the door to acceptance and healing.

    Last Goodbye

    In their last meeting, Will thanks Sean for all of his help and shares the good news that he has accepted an exciting new job. Sean, in turn, reveals his plans to travel and explore life on his own terms. They exchange numbers to keep in touch, symbolizing the respect and connection they’ve built.

    This moment underscores that therapy is often a chapter in life that prepares individuals to continue their journeys independently. Both Will and Sean needed to say their goodbyes and go their separate ways to continue following their paths in life. Will has learned to face his fears and embrace his potential. Sean has rediscovered purpose and fulfillment through helping Will. Their goodbye is bittersweet but profound, a reminder that growth often requires letting go and moving forward.

    In the final scene, Will leaves a letter at Sean’s place that reads, “If the professor calls about that job, just tell him sorry—I had to go see about a girl.” This moment beautifully exemplifies Will’s newfound courage to follow his heart and take meaningful risks.

    Conclusion

    The therapeutic relationship between Sean and Will in Good Will Hunting is a masterclass in storytelling and psychology. Through humor, vulnerability, and mutual respect, Sean helps Will break through years of pain and fear, while Will reignites Sean’s passion for life. Their journey is a powerful testament to the transformative potential of therapy — and how creating a space of acceptance, healing, and growth can change lives.


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    Steven Handel

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  • Christopher Nolan’s Next Movie Adds Tom Holland to Cast, New Info on Film’s Setting

    Christopher Nolan’s Next Movie Adds Tom Holland to Cast, New Info on Film’s Setting

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    Spider-Man’s Tom Holland has been cast in Christopher Nolan’s next movie.

    Holland is best known for playing Peter Parker in the Marvel Cinematic Universe. He also recently starred in the London stage production of Romeo & Juliet, which ran for twelve weeks this past summer at the Duke of York’s Theatre.

    According to The Hollywood Reporter, Holland has now been cast in Nolan’s next big movie for Universal Pictures.

    What do we know about Christopher Nolan’s next movie?

    It’s unclear who Holland will be playing in Nolan’s next movie; although, it is known that Matt Damon has also been cast in the film.

    Plot details remain largely under wraps at this point. According to The Hollywood Reporter, the movie will not be set in the present day. It’s not immediately clear whether that means the movie will take place in the past or future.

    According to a recent report from Variety, the movie likely won’t be another sci-fi epic. It is rumored to be in the espionage genre, though Universal has not officially commented on the matter at this time.

    Nolan is producing his new movie alongside Emma Thomas for their Syncopy banner.

    This marks Holland’s first time working with Nolan. Along with starring in the MCU, Holland has been in movies such as 2012’s The Impossible, 2015’s In the Heart of the Sea, 2016’s The Lost City of Z, 2020’s The Devil All the Time, 2021’s Cherry, 2021’s Chaos Walking, and 2022’s Uncharted. He has also voiced characters in 2019’s Spies in Disguise, 2020’s Dolittle, and 2020’s Onward.

    Nolan recently won the Academy Award for Best Director for 2023’s Oppenheimer, which also won Best Picture. He’s known for making movies such as 2006’s The Prestige, 2008’s The Dark Knight, 2010’s Inception, 2014’s Interstellar, 2020’s Tenet, and more.

    Nolan’s next, still untitled movie will be released in United States theaters on July 17, 2026, from Universal Pictures.

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    Brandon Schreur

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  • J.Lo Was an Unstoppable Force of Promo at TIFF

    J.Lo Was an Unstoppable Force of Promo at TIFF

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    Photo: Cindy Ord/Getty Images

    Love don’t cost a thing, but making a movie does. Even though it would’ve been understandable if Jennifer Lopez wanted to stay out of the spotlight after her latest heartbreak, she put in work to promote her based-on-a-true-story sports drama Unstoppable at its premiere at the Toronto International Film Festival on September 6. It was her first public appearance since she filed for divorce from Ben Affleck, who produced the film but did not attend the premiere. (He was photographed in Los Angeles earlier that day, with People reporting that he appeared to be on his way to work.) Several outlets declared that J.Lo’s sparkly, side-slit TIFF attire was a “revenge dress.” But regardless of what motives she might’ve had when sharing pics of her outfit on Instagram, Lopez made sure to mention Unstoppable in the captions of both posts.

    She also posed on the red carpet for group photos, at one point standing just one Don Cheadle away from Affleck’s close friend and fellow Unstoppable producer Matt Damon. During part of a premiere conversation shared on social media by Peter Gray, she fielded questions about her character Judy, the mother of wrestler Anthony Robles — an NCAA champion who was born with one leg — and four other children. “When I read the script, I felt like so many women, including myself, could relate to the struggles she had gone through in life,” said Lopez, adding that the film is “a Latino story” and “so inspiring.” Judy was brought on stage during the event, and Lopez was filmed hugging her as the TIFF audience got to its feet and applauded after the screening. Who needs an ex when you’ve got a standing o?

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    Jennifer Zhan

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  • What to stream this week: Matt Damon on a heist, ‘Dance Moms’ jazz it up and J Balvin parties

    What to stream this week: Matt Damon on a heist, ‘Dance Moms’ jazz it up and J Balvin parties

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    Netflix’s “The Umbrella Academy” premieres its final season and a Boston heist movie starring Matt Damon and Casey Affleck are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: a new “Dance Moms” series, a “Yo Gabba Gabba” reboot for younger audiences and J Balvin promises an album that hits like a house party.

    NEW MOVIES TO STREAM

    — A poorly planned heist goes terribly wrong in “The Instigators” (Friday, Aug. 9, on Apple TV+), a loosely amiable Boston-set caper starring Matt Damon and Casey Affleck. The movie, directed by Doug Liman (“Go,” “The Bourne Identity”), returns Damon and Affleck to familiar hometown terrain. They play a despondent pair who try to steal money from a corrupt mayor (Ron Perlman) but end up on the run, with a therapist (Hong Chau) in tow. In my review, I called it “a rudderless but winningly shaggy action comedy.”

    Jeff Nichols (“Mud,” “Take Shelter,” “Loving”) extends his survey of classically American dramas with “The Bikeriders,” a chronicle of a Chicago motorcycle club in the 1960s. In the film (Friday, Aug. 9, on Peacock), Austin Butler and Tom Hardy star as riders with an antiauthoritarian streak who help found the Vandals, but watch as their club grows beyond their control. In a male-populated film, though, Jodie Comer, as the heavily accented narrator, is closer to the main character. In my review, I called it “a vivid dramatization of the birth of an American subculture.”

    — This month, the Criterion Channel is running two overlapping series: one of movies directed by Paul Thomas Anderson, one of films starring Philip Seymour Hoffman. Hoffman was a mainstay in Anderson’s films from the start (he steals “Hard Eight” with one scene) and a central presence in films like “Magnolia,” “Punch-Drunk Love” and “The Master.” The Hoffman series includes plenty other highlights, too; look especially for the exquisitely tender 2010 drama “Jack Goes Boating.” The Anderson series also includes an exclusive streaming of the director’s radiant 2021 coming-of-age tale “Licorice Pizza,” which poignantly starred Hoffman’s son, Cooper.

    AP Film Writer Jake Coyle

    NEW MUSIC TO STREAM

    Ryuichi Sakamoto’s “Opus” — the posthumous album and documentary of the same name — was captured while the Japanese film composer was dying of cancer. Across 20 songs, Sakamoto performs a collection of his biggest songs on piano, like the memorable themes for Bernardo Bertolucci’s “The Last Emperor” and “The Sheltering Sky.” The album also includes the first ever recorded version of “Tong Poo,” from his early days with techno-pop trio Yellow Magic Orchestra.

    — On Friday, Aug. 9, Colombian reggaetónero J Balvin will release a new full-length project, “Rayo.” Across 15 tracks, he’s promised an album that hits like a house party — just in time for the hottest summer month of the year. “Rayo” is stacked with good time collaborations — reggaetón superstar Fied, regional Mexican musician Carín León, Bad Gyal, Zion, Dei V, Ryan Castro, Blessd and Luar La L among them. The previously released singles, “Gaga” with SAIKO, “Polvo de tu Vida” with Chencho Corleono, and “En Alta” with Quevedo, Omar Courtz and YOVNGCHIMI, embody that spirit. At his party, everyone is invited.

    — Also on Friday, Aug. 9, “Not Not Jazz,” a documentary following the avant-garde, acid jazz-fusion band Medeski, Martin & Wood, becomes available to stream via video on demand. The film follows the improvisational trio as they endeavor to record a new album at the Allaire Studio in Woodstock, New York. It is a peek behind the curtain of their processes, and a celebration of music that is far too often underserved.

    AP Music Writer Maria Sherman

    NEW SHOWS TO STREAM

    — The dramatic world of “Dance Moms” returns with a new coach, dancers and, of course, invested moms. In “Dance Moms: A New Era,” mothers hover as eight girls are trained by instructor Glo Hampton, a.k.a. Miss Glo, to compete nationally. The original “Dance Moms” ran for eight seasons and featured breakout stars Jojo Siwa and Maddie Ziegler. It also introduced the world to coach Abby Lee Miller, who was often criticized for being too harsh on her students. Miller was sentenced to a year in prison in 2017 for bankruptcy fraud. “Dance Moms: A New Era” debuts Wednesday, Aug. 7.

    — Netflix’s “The Umbrella Academy” premieres its final season on Thursday, Aug. 8. The show follows a family of adopted superheroes — who were stripped of their powers in season three — who must work together to stop the apocalypse. Megan Mullally, Nick Offerman and David Cross are new faces in season four alongside regulars that include David Castañeda, Tom Hopper and Elliot Page.

    — The musical cartoon for preschoolers called “Yo Gabba Gabba!” is also getting a reboot called “Yo Gabba GabbaLand!” on Apple TV+. The 10-episode series premieres Friday, Aug. 9. It’s hosted by Kamryn Smith as Kammy Kam and brings back other characters from the original.

    — Michael Imperioli, who played Tony Soprano’s protégé Christopher on “The Sopranos,” can’t shake the mob. He’s the executive producer and narrator of a three-part docuseries on five Italian American families who were selected by Charles “Lucky” Luciano in 1931 to rule the organized crime world. “American Godfathers: The Five Families” debuts Sunday, Aug. 11 on The History Channel. It will also stream on The History Channel app, history.com and major TV video on demand platforms.

    — A four-part docuseries adapts historian Donald Bogle’s 2019 book called “Hollywood Black” for MGM+. Executive produced by Forest Whitaker, the series examines the history of cinema through the Black perspective. Creatives including Ryan Coogler, Ava DuVernay, Issa Rae, LaKeith Stanfield, Gabrielle Union, Lena Waithe are interviewed. “Hollywood Black” premieres Sunday, Aug. 11.

    Alicia Rancilio

    NEW VIDEO GAMES TO PLAY

    — People who love collecting cute monsters and making them fight have long been drawn to Pokémon. This year’s Palworld upped the ante by adding guns to the mix. But what if you just want to cuddle? That’s where 11 Bit Studios’ Creatures of Ava comes in. You’re an explorer on a planet bustling with wildlife — but the creatures are being threatened by an infection called “the withering.” It’s your mission to tame the beasts with your magic flute and help them heal. It’s a cozier take on the old “gotta catch ’em all” formula, and it comes to Xbox X/S and PC on Wednesday.

    Lou Kesten

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  • Sequel to Rounders in the Works? • This Week in Gambling

    Sequel to Rounders in the Works? • This Week in Gambling

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    The star of one of the most iconic poker film is speaking out. Recently, Matt Damon has a lot to say about a sequel to Rounders. The comments came on The Rich Eisen Show, so take them for what they are worth. Perhaps he’s sincere, but it takes more than that to make a movie.

    If you love the game of poker, there are certain movies that jump out at you. From classics like Maverick, to more modern takes like Molly’s game and Runner Runner. However, a sequel to Rounders would be like finding the Holy Grail, as the film is practically a cult classic when it comes to Texas Holdem.

    During an appearance on the talk show, Damon revealed that there have been ongoing discussions about a follow-up to the 1998 drama. He mentioned that he and his co-stars, including Edward Norton, are all eager to reprise their roles. He also commented on how much the poker landscape has evolved over the past 25 years, making a sequel an intriguing prospect.

    Damon explained that there has been talk for years about a sequel to Rounders, adding “I actually saw Edward Norton a few weeks ago, and everyone involved is interested in making it happen.” However, he also noted that before any plans can move forward, there are complex legal issues to resolve regarding the film’s rights.

    “We need to sort out the chain of title and determine who owns what, as there are many stakeholders involved,” Damon said. “Our priority at Artists Equity is to ensure that any deal benefits everyone, particularly the cast and crew, who are our main focus. We’re working on figuring it out because we all really want to see this project come to life.”

    So, if this project actually gets off the ground we will be pleasantly surprised, mostly because of the complexities surrounding getting it down. The movie has already shown fans and poker player that it can stand on its own, and adding a sequel can be a tricky mess if the script isn’t amazing. After all, we would rather see no sequel at all than have them put out a bad one.

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    This Week in Gambling

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  • Matt Damon Teases Possible ‘Rounders’ Sequel: “All of Us Want to Do It”

    Matt Damon Teases Possible ‘Rounders’ Sequel: “All of Us Want to Do It”

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    Matt Damon is all in on wanting to make a sequel to his 1998 poker-focused drama feature Rounders.

    The actor was a guest on Roku Channel‘s The Rich Eisen Show on Wednesday, where the host asked Damon if there are any movies of his own that could get sequels. Damon noted that Actors Equity, the production company that he founded with Ben Affleck, is behind the forthcoming The Accountant 2, which stars Affleck. But regarding his own projects, Damon said he would love to revisit director John Dahl’s Rounders, which focused on underground, high-stakes poker tournaments and co-starred Edward Norton, John Turturro, John Malkovich and Gretchen Mol.

    “The one that we’ve been talking about for years — and I just saw Edward Norton a few weeks ago, [and] all of us want to do it — is a second Rounders movie,” Damon said. “Because so much has happened in that poker world in the last 25 years, it would be fun to catch up with those guys.”

    Sadly, the hang-up appears to be dealing with rights issues for the movie that Miramax Films released on Sept. 11, 1998. “You’ve got to figure out the chain of title and who owns it, and everybody’s got their hand in the pot,” the star said. “So we’ve got to figure out a way to make a deal that makes sense for everybody, particularly the people who are going to make the movie because at Artists Equity, that’s who we care about, are the cast and crew. We’re trying to figure that out because I think we’d all like to do that.”

    Damon recalled having chatted 10 or 15 years ago with the film’s screenwriters David Levien and Brian Koppelman, who would go on to create the Showtime series Billions, and that the scribes had an idea in mind for a follow-up. However, Damon feels that the ways in which the real-life poker scene has evolved over recent years would mean a sequel concept could use a bit of a refresh.

    “What they had 10 years ago, I thought, was fantastic, and I’m sure they could augment and roll with the times and update it to where we are today and make something great,” he continued.

    Damon — who is currently promoting his role in Apple’s The Instigators — pointed out that, although Rounders underperformed at the box office in its day, it has more recently cultivated a devoted fan base.

    “That’s one of those movies that, it came out and didn’t do well,” he said. “When it came out, it kind of bombed, and then it got discovered by people later. When that happens, people feel a sense of ownership, like, ‘Hey, that’s my movie. I was a champion of that movie even when no one else was.’ So it feels like there’s a lot of good will behind it. But we gotta figure out if we can make it happen.”

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    Ryan Gajewski

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  • The Flying-By-the-Seat-of-His-Pants Mr. Ripley

    The Flying-By-the-Seat-of-His-Pants Mr. Ripley

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    From the outset of Steven Zaillian’s adaptation of Patricia Highsmith’s seminal work, The Talented Mr. Ripley, it’s pretty clear why the title of the series was altered to the plain and simple Ripley. That is to say, because this version of Tom Ripley (Andrew Scott) hardly seems talented at all (or deft, or graceful, for that matter). In fact, he seems like a middling criminal at best and a bumbling con man at worst. This, of course, is a far cry from the onscreen version of Ripley that Matt Damon made the most famous in Anthony Minghella’s 1999 adaptation. In this edition, Tom comes across as someone with slightly more finesse. Someone who knows how to better wield good fortune in his favor. Scott’s interpretation of the character, however, is much more blundering (fittingly enough, Highsmith does have a novel called The Blunderer). 

    This is something instantly detectable in the first few minutes of Ripley, with Tom incompetently dragging a body down the stairwell of his apartment building. Elsewhere, compared to Damon’s Ripley, Scott’s is one with no vibrancy or aspirations. This is partially due to the age difference between Damon and Scott when each played Ripley. The former was twenty-eight when The Talented Mr. Ripley was filmed, while the latter is forty-seven. It makes for a much more wizened Ripley in this regard. And that’s something to note in terms of Damon’s Ripley being more aspirational. Not only is it obvious that he wants to be a pianist (in fact, one of his gigs is what allows him to encounter Herbert Greenleaf [James Rebhorn] in the first place), but it’s also made clear that he works a number of legitimate jobs to help pay the rent. Scott’s Ripley appears to have given up on that waste of time long ago, relying solely on his various scams to get by. In addition to some help from a previously unmentioned Aunt Dottie (Cristina Fondi), who goes to the dentist for teeth extractions to give him a few extra dollars here and there. 

    But it’s evident that Ripley’s tricks and schemes are running dry, with one bank already immediately onto his forged signature in the first episode, “A Hard Man to Find.” It’s the realization that it’s all getting too difficult in New York that leads him to go back to the business card of Herbert Greenleaf (Kenneth Lonergan), given to him by the private detective named Alvin McCarron (Bokeem Woodbine) hired to find him. For whatever reason, Herbert is convinced that Tom is an old friend of Dickie’s (Johnny Flynn) who can convince him to come back to America after years spent bumming around Europe. At present, his whereabouts are in Atrani. A real place on the Amalfi Coast in contrast to The Talented Mr. Ripley’s fictional Mongibello (an overt stand-in for Positano). Game to do anything that involves leaving New York (arguably the only sign of his intelligence), Ripley departs for Italy. 

    While he plays it closer to the vest than Damon’s Ripley (that one going so far as to outright tell Dickie when he asks, “Everybody should have one talent. What’s yours?”: “Forging signatures, telling lies, impersonating practically anybody”), he’s still a little too transparent when it comes to his covetousness of the privileged man’s lifestyle. In contrast, Damon’s Ripley appears more enamored of Dickie himself, this accented by an effective montage of the two bonding as friends, rounded out by a super homoerotic joint performance of “My Funny Valentine.”

    Highsmith being gay herself, the frequent subtext between the characters in her novels is alive and well here. And it is the jocular ribbing between Jude Law’s Dickie and Damon’s Ripley that perhaps makes their potential for a homoerotic rapport more believable. Dickie is, indeed, much rougher around the edges in Law’s hands. Not only a philandering cad, but also someone blunt enough to joke in front of Tom, “Such little class, Marge. Does this guy know anything?” Enough to “get by,” as it is said. Enough to successfully kill a man and assume his identity. 

    In many ways, it’s also easier to kill Law’s Dickie in that he’s much more of a boor. The type of man so careless with people’s feelings that he ends up prompting one local woman’s suicide (she got pregnant with his child and he wouldn’t give her the money for an abortion). The type of man who provokes Tom on the boat in San Remo with his cruel assessments (including “You can be quite boring” and “You can be a leech”)  until Tom’s true inner freak show finally unleashes. It’s here, too, that the differences between Damon’s “cooler,” more competent Ripley shines through in that, unlike Scott’s Ripley, he’s not too daft to understand how to more rapidly sink a boat after killing Dickie on it. Incidentally, just before Damon’s Ripley kills Dickie, he remarks, “The funny thing is, I’m not pretending to be somebody else and you are.”

    It is in this sense, too, that viewers are given an understanding that Damon’s Ripley was far more overtly in love with Dickie, while abhorring the phoniness (Holden Caulfield-style) of those in his privileged circumstances. In truth, it appears to genuinely pain Damon’s Tom to kill Dickie, opting to lay with his body for a while afterward as the boat sloshes back and forth. Scott’s Ripley, instead, is more in love with Dickie’s money, even if not his friends. Freddie Miles (Philip Seymour Hoffman) included. The Freddie of Ripley (played by Eliot Sumner), however, is slightly less brutish…if for no other reason than he’s British and not American. He’s also much more direct about accusing Tom of taking over Dickie’s life. But Tom is quick to the kill, and does it in a manner less messy than Scott’s Ripley, who drags the body about in such a way as to leave traces of blood everywhere. Worse still, he simply leaves Freddie’s corpse in the front seat of his car rather than taking it out and making it look more like some kind of car accident.

    While both Ripleys rely on improvisation to execute whatever their schemes of the moment are, the manner in which Damon’s Ripley speaks is generally more confident and quick to the draw, which makes him far more believable and, frankly, less smack-worthy than Scott’s version. 

    Indeed, there are so many more moments during Ripley when one wants to scream at the character for being so stupid and slow in his actions. It is only in the final episode, “Narcissus,” that we start to see something resembling Ripley actually hitting his pathological lying stride. And, in the same way that Damon’s Ripley talks about Dickie as a cover for talking about himself, Scott’s Ripley tells the private detective, “He wondered if he would ever be good at anything. Everything about him was an act. He knew he was…supremely untalented.” And yes, Scott’s Ripley is definitely that, whereas Damon’s Ripley can at least play the piano and keep all of his lies straight. Even though, as he admits to his eventual gay companion, Peter (Jack Davenport), he’s had to lock away a lot of his past in order to cope. Which is why, when Peter asks how Dickie could live with himself if he murdered Freddie, Ripley answers, “Whatever you do, however terrible, however hurtful, it all makes sense, doesn’t it? In your head. You never meet anyone who thinks they’re a bad person.”

    Ripley certainly doesn’t. Neither version of him—the one in color or the one in black and white. And yes, Zaillian’s decision to enlist Robert Elswit for the B&W cinematography becomes almost more interesting to watch than Ripley himself. While there are any number of reasons for the choice to avoid color, some might posit that the ongoing thread of Caravaggio is a factor (initially mentioned by Dickie as being a man on the run for murder, and who did some of his best work as a fugitive). After all, what’s better for reflecting the chiaroscuro of the maestro’s paintings than black and white? The stark duality of these colors—being at opposite sides of the spectrum—also mirrors the dynamic between Tom and Dickie. 

    With Ripley, Zaillian has created a different version entirely of the man many came to know best not through Highsmith’s novel, but through Damon’s portrayal. Alas, even with so much more time to develop Ripley as a character within the span of eight episodes, it’s ironic that, naturally, we still don’t really know him at all. For it’s impossible to “know” a cipher. Someone so mutable and, therefore, as Marge (Dakota Fanning) puts it, “vague.” Granted, not so vague that he can’t still read as flying by the seat of his stolen pants when it comes to executing his so-called strategies. However, in the ultimate defense of Scott’s Ripley, he does actually speak some Italian. Call it a testament to his “quick study” nature.

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    Genna Rivieccio

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  • ‘Drive-Away Dolls’ Review: A Queer Road Trip Without Forward Motion

    ‘Drive-Away Dolls’ Review: A Queer Road Trip Without Forward Motion

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    Margaret Qualley and Geraldine Viswanathan in Drive Away Dolls. Working Title/Focus Features

    Over the years, the Coen Brothers have developed a distinctive, compelling style of filmmaking, culminating in 2018’s The Ballad of Buster Scruggs. Since then the directors have gone their separate ways—artistically at least. Joel Coen helmed The Tragedy of Macbeth in 2021, an evocative, unsettling take on the iconic Shakespeare play. Drive-Away Dolls marks Ethan Coen’s debut solo feature (he also directed documentary Jerry Lee Lewis: Trouble in Mind in 2022), offering a glimpse into the filmmaker’s personal creative ambitions and inspirations. 


    DRIVE AWAY DOLLS ★★1/2 (2.5/4 stars)
    Directed by: Ethan Coen
    Written by: Ethan Coen, Tricia Cooke
    Starring: Margaret Qualley, Geraldine Viswanathan, Beanie Feldstein, Colman Domingo, Pedro Pascal, Bill Camp, Matt Damon
    Running time: 84 mins.


    The film, originally titled Drive-Away Dykes, a far better name for the resulting effort, is a collaboration between Coen and his wife Tricia Cooke, who co-wrote and edited the movie. It’s got an intriguing premise, paying homage to B-movies from the 1960s and ‘70s, but the storytelling itself falters, often mired in shock value for the sake of shock value. Visually interesting with committed performances, it doesn’t quite stick the landing. 

    Geraldine Viswanathan plays Marian, a young lesbian with a dull job and an uptight demeanor. Her unlikely best friend Jamie, played by Margaret Qualley doing quite the accent, is the exact opposite, a sexed up live-wire who cheats on her cop girlfriend Sukie (Beanie Feldstein) in the opening minutes of the film. The pair head out on a road trip to Tallahassee by borrowing a car from the local drive-away, which rents people cars if they relocate them for the owner. The girls accidentally end up with the wrong car, which holds a mysterious briefcase and the frozen head in the trunk. A group of criminals are hot on their tail, although they are none the wiser. 

    In theory, it’s a fun story. In execution, it’s a series of scenes and set pieces that never quite gel. Marian and Jamie stop at various locales along the way to Florida, with Jamie encouraging Marian to let down her hair and get laid. This results in hijinks like an all-girl make-out party in someone’s basement and Jamie saying “honey darling” in a Southern accent a lot. By the time they get to Tallahassee, having discovered the contents of their trunk, Jamie and Marian’s relationship shifts, inciting a romance that doesn’t feel earned or true. Pedro Pascal and Matt Damon play small roles, but despite Pascal’s high billing he is barely in the movie. Kudos to Coen, though, for a scene that recalls the actor’s most famous Game of Thrones moment. 

    Pedro Pascal in Drive Away Dolls. Wilson Webb/Working Title /Focus Features

    On the plus side, Drive-Away Dolls is extremely gay. There’s a lot of sex, all of it between women, and Coen never exploits the girl-on-girl action or makes it feel voyeuristic, although some of it is purposefully wild (see: shock value). Cooke identifies as queer, which clearly helped the film’s authenticity, and the film smartly doesn’t attempt represent all lesbian experiences or tastes. The tone is light-hearted (although critics in my press screening didn’t find the movie particularly funny), and Cooke has said she wanted to make a queer film that isn’t over serious or dramatic. It’s a great addition to the queer movie canon with actresses committed to telling the story. 

    Drive-Away Dolls never sets itself up to be realistic or grounded—the colorful psychedelic interludes add to this effect—but even in its own version of reality there’s just something missing. It’s stylish with witty dialogue, but for a road-trip movie there’s not much forward motion. And maybe that’s the point. Maybe this is just a whimsical trip with quirky characters and little depth. Maybe we’re never supposed to really understand or care about anyone’s motivation or background. There are great moments and a great idea here. Without that connective substance, though, the car gets stuck in neutral.


    Observer Reviews are regular assessments of new and noteworthy cinema.

    ‘Drive-Away Dolls’ Review: A Queer Road Trip Without Forward Motion

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    Emily Zemler

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  • Ben Affleck, Tom Brady, Matt Damon star in Dunkin’ Super Bowl commercial

    Ben Affleck, Tom Brady, Matt Damon star in Dunkin’ Super Bowl commercial

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    Tom Brady, Ben Affleck, Matt Damon star in Dunkin’ Super Bowl commercial


    Tom Brady, Ben Affleck, Matt Damon star in Dunkin’ Super Bowl commercial

    01:58

    BOSTON – The Patriots may not have been in the Super Bowl, but New England was on full display with a star-studded Dunkin’ commercial starring Tom Brady, Ben Affleck and Matt Damon and others.

    Social media was buzzing during the ad, which aired during the Kansas City Chiefs’ overtime victory over the San Francisco 49ers.

    During the ad, Affleck seeks to become a popstar and crashes wife Jennifer Lopez’s recording studio alongside bandmates Damon and Brady.

    The group calls itself “The DunKings” and wears bright Dunkin’-themed tracksuits bearing the name.

    “Touchdown Tommy on them keys!” Affleck announces to the room as the performance gets underway. When the song wraps up, Damon reluctantly says “How do you like them … donuts?” in a nod to his famous “Good Will Hunting” line.

    As the DunKings leave the studio, Lopez tells Brady that “You can stay.”

    According to Dunkin’, DunKing tracksuits will be on sale Monday at noon.



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  • Rudy Giuliani Reportedly Calls Matt Damon A Homophobic Slur In New Audio Transcript Filed In Lawsuit

    Rudy Giuliani Reportedly Calls Matt Damon A Homophobic Slur In New Audio Transcript Filed In Lawsuit

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    By Melissa Romualdi.

    In a new lawsuit against Rudy Giuliani, the former mayor of New York City reportedly called Matt Damon an insulting slur in newly filed documents.

    Amongst the new docs — filed Wednesday by Giuliani’s former assistant, Noelle Dunphy — are revealing transcripts of audio recordings of the politician’s intimate encounters.

    In one of the transcripts, after Dunphy asks Giuliani about Republican celebrities, he reportedly replies: “Ain’t too many. Brad — not Brad Pitt. The other guy that looks like him.”


    READ MORE:
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    When Dunphy attempts to clarify if he means Bradley Cooper, Giuliani says he doesn’t — per the transcript — before pointing out that “Matt Damon is very liberal.”

    “No, Matt Damon is a — Matt Damon is a f*g,” the 79-year-old lawyer allegedly responds before he’s quoted saying: “Matt Damon is also 5’2, eyes are blue. Coochie-coochie-coochie-coo.”

    Side note, according to IMDb, Damon stands at 5’10”.


    READ MORE:
    Matt Damon Shades Donald Trump’s Campaign Video Using Unauthorized ‘Air’ Monologue

    Dunphy is suing Giuliani for sexual assault and harassment in a lawsuit initially filed in May. She claims that shortly after Giuliani hired her in January 2019, he began harassing and assaulting her. Giuliani responded, claiming that Dunphy was never his employee and that his relationship with her was consensual.

    Giuliani served as New York’s mayor from 1991 to 2001 and belonged on the legal team of former President Donald Trump. In 2020, he also made an unforgettable appearance in “Borat Subsequent Moviefilm” in a scene where he’s privately interviewed by Maria Bakalova’s character.


    READ MORE:
    Fox Exec Says Only Regret About Rudy Giuliani Reveal On ‘The Masked Singer’ Was That It Got Spoiled

    Meanwhile, Damon previously revealed that he quit using the same homophobic slur that Giuliani reportedly used in the transcript after he was called out by one of his daughters.

    “The word that my daughter calls the ‘f-slur for a homosexual’ was commonly used when I was a kid, with a different application,” Damon, 52, told the Sunday Times in a 2021 interview. “I got a…beautiful treatise on how that word is dangerous…I said, ‘I retire the f-slur!’ I understood.”

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    Melissa Romualdi

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  • Matt Damon said no to a huge film franchise that he thinks could have made him $250 million | CNN

    Matt Damon said no to a huge film franchise that he thinks could have made him $250 million | CNN

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    CNN
     — 

    Matt Damon turned down a major role years ago – except this role was one that could have made the Oscar-winner upwards of $250 million.

    Appearing on Friday’s episode of CNN’s “Who’s Talking to Chris Wallace,” Damon spoke with the host about how in 2009, he was offered not just the lead role in James Cameron’s “Avatar,” but a percentage of the film’s earnings.

    “It’s something awful like that,” Damon joked when asked about his $250 million calculation, going on to say he’s “sure it’s the most money an actor ever turned down.”

    Damon said he was obligated to finish production on the “Bourne” series that he starred in between 2002 and 2016, and he didn’t want to “leave them in the lurch” to go do “Avatar.”

    Cameron ended up casting Sam Worthington in the lead role, alongside Zoe Saldana, Sigourney Weaver, Joel David Moore and Michelle Rodriguez in the franchise’s first installment.

    “Avatar,” of course, went on to become the highest grossing movie of all time, with a lifetime gross of nearly $3 billion since its 2009 release.

    The long-awaited sequel, “Avatar: The Way of the Water” came out last year, and is the third highest-grossing film ever, with a lifetime gross of $2.3 billion. “Water” sits behind “Avatar” and “Avengers: Endgame,” which has grossed nearly $2.8 billion since its release in 2019.

    It’s a decision that may haunt him, but all signs seem to indicate that Damon did just fine without venturing around Cameron’s planet of Pandora.

    For now, Damon stars in director Christopher Nolan’s latest war-era epic “Oppenheimer,” which premieres in theaters on Friday.

    As for Damon’s claim that his decision resulted in the most money an actor has declined ever, that’s debatable.

    Sean Connery was famously offered the role of the wizard Gandalf in Peter Jackson’s sweeping “Lord of the Rings” trilogy of films, but reportedly turned the role down because he “didn’t get it.

    What’s more, he was allegedly offered $30 million dollars for each movie, plus 15 percent of the box office take, which in retrospect would have netted the “Bond” actor a sum in the vicinity of $450 million dollars.

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  • ‘Oppenheimer’ Cast Divulges Extreme Lengths Cillian Murphy Went To For Role

    ‘Oppenheimer’ Cast Divulges Extreme Lengths Cillian Murphy Went To For Role

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    Cillian Murphy is already earning rave reviews for his portrayal in “Oppenheimer” of the eponymous physicist who built the first nuclear bomb. Part of the Irish actor’s method was to look as much like the scientist as possible ― and that included extreme tactics, as co-stars Emily Blunt, Robert Downey Jr. and Matt Damon recently shared.

    In an interview with Fandango, Blunt said filming the Los Alamos National Laboratory scenes in New Mexico offered great local cuisine. But Murphy skipped out while portraying J. Robert Oppenheimer, she said.

    “We were all in New Mexico, like, eating quesadillas, and [Murphy] was like, in his room, eating an almond,” Blunt said during a group interview with Fandango posted last week. Damon added: “He declined every dinner invitation for the entire film. We invited him to dinner every night. He never came once.”

    “He had such a monumental undertaking,” Blunt told Extra in an interview last week. “And he could only eat, like, an almond every day. He was so emaciated.”

    Murphy joins many other actors in changing their bodies for a role or feeling pressure to do so. Stars themselves have warned that altering their bodies can be unhealthy physically and mentally ― while others have cautioned that celebrating dramatic weight loss by actors is dangerous for observers as well.

    Murphy recently told The Guardian that “becoming competitive with yourself” in regards to how thin one can get for a role isn’t healthy, and notably declined to discuss details of his “Oppenheimer” diet.

    “I don’t want it to be, ‘Cillian lost x weight for the part,’” he told the outlet.

    The actor explained to The New York Times in May why he wanted to match Oppenheimer’s look.

    “I love acting with my body, and Oppenheimer had a very distinct physicality and silhouette,” Murphy told the Times. “I had to lose quite a bit of weight … he was very slim, almost emaciated, existed on martinis and cigarettes.”

    While Murphy has worked with visionary director Christopher Nolan before — and starred in “Inception” (2010), “Dunkirk” (2017) and the “Dark Knight” trilogy (2005-2012) — “Oppenheimer” marks the first time he’s leading a blockbuster of such scale.

    Oppenheimer spearheaded the Manhattan Project, a secret research and development project to build an atomic bomb during World War II. Testing was carried out at Los Alamos, a desert outpost in New Mexico where the scientists and their families lived.

    For the film, Nolan once again cast digital effects aside in favor of practical filmmaking ― and IMAX cameras. He even used practical effects for the harrowing Trinity test explosion. Nolan is so traditional, in fact, he doesn’t even use a smartphone.

    “The only thing Chris would do by text is [Cillian’s] daily calorie count,” joked Downey Jr. during the Fandango interview.

    “Oppenheimer” hits theaters July 21.

    If you’re struggling with an eating disorder, call or text 988 or chat 988lifeline.org for support.

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  • Matt Damon Opens Up About The Three Most Important Partnerships In His Life – Find Out Who They Are

    Matt Damon Opens Up About The Three Most Important Partnerships In His Life – Find Out Who They Are

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    By Emerson Pearson.

    Matt Damon considers himself fortunate regarding his creative and romantic partnerships.

    In a recent interview with Sunday “TODAY“‘s Willie Geist, Damon, 52, expressed his belief that his ability to choose the right collaborators is one of his strengths.

    He highlighted three significant partnerships in his life: his lifelong friendship with Ben Affleck, his marriage to his wife Luciana Barroso, and his work with Gary White at water.org.


    READ MORE:
    Matt Damon Recalls Falling ‘Into A Depression’ While Filming Movie He Knew Was ‘Going To Be A Losing Effort’

    When asked which partnership takes priority, Damon humorously responded: “You’re supposed to divide your day up into thirds, so there’s no particular order, but obviously my wife.”

    Damon’s family, including his wife and their daughters, have been by his side at movie premieres, showcasing their strong bond.

    Damon and his wife met in 2003 during the filming of “Stuck on You” in Miami Beach, Florida, and they tied the knot in a private ceremony in New York City in December 2005. Reflecting on his dynamic with Affleck, Damon described their relationship as a collaboration that has evolved over the years.


    READ MORE:
    Emily Blunt On Running Into Neighbour Matt Damon In His Slippers: ‘Haven’t Seen Him In Regular Shoes For A While’

    He compared working with Affleck as a director on “Air” to being directed by Christopher Nolan for “Oppenheimer”, highlighting the freedom and partnership that great directors bring.

    Damon also discussed his unique communication style with Affleck on set, emphasizing their straightforwardness and lack of diplomacy.

    “Oppenheimer”, Damon’s new movie, is set to hit theatres on July 21.

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    Emerson Pearson

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