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Review: Egerton glitters in glossy, conventional ‘Rocketman’

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Whatever you say about Dexter Fletcher’s glossy, glittering Elton John blinged-out biopic ”Rocketman ,” a shiny sequin of a movie, it doesn’t lack for sparkle. Like its flamboyant subject, it’s a movie outfitted to the nines in dazzle and verve, even if it’s gotten all dressed up with nowhere to go but the most conventional places.

Almost slavishly sealed within the hermetic bubble of the rock biopic, “Rocketman” will, justifiably, draw plenty of comparisons to its opening act: last year’s Freddie Mercury tale “Bohemian Rhapsody.” They’re both about larger-than-life figures, each gay icons, with a preternatural talent for hooks and spectacle. Fletcher also helped steer “Bohemian Rhapsody,” subbing for the departed Bryan Singer. The two movies even share a villain in music manager John Reid (Aiden Gillen in “Bohemian,” Richard Madden here).

And Elton, like Freddie, churned out unassailable, everlasting earworms sung round the world. Favoring melody over meaning, the music of both comes big-screen ready. Their songs were themselves movies, in Technicolor. Just as “Bohemian Rhapsody” can glide over the origins of “Scaramouche,” we need no investigations into why that dancer was so tiny.

“Rocketman” deviates in its rating (R), its less hesitant depiction of its star’s homosexuality and, most dramatically, in casting John’s life across a fantastical musical tapestry. It’s also quite definitely a better movie — although one still stuffed to gills with clichés and heavily dependent on the sheer toe-tap-ability of its star’s extensive back catalog, and its lead performer.

Here, that’s Taron Egerton, who doesn’t especially look like John or sound like John, but he gives a star-making performance built on charisma and will. Egerton gives it his all, and if there’s one quality that’s most essential in an Elton John movie, it’s probably spiritedness.

On the whole, this is a more-or-less true, authorized account (John is an executive producer), but one that frequently breaks free of stubborn things like chronology and gravity. In one scene, John himself rockets from an arena stage into the night sky and explodes as a firework. The rock critic Robert Christgau once referred to John as “a one-man Zeitgeist.” ″Rocketman” has every fiber of its being committed to burnishing the myth of Sir Elton: literally an exploding star.

“Where there was darkness, there is now you, Elton John,” the devilish Reid tells him, shortly before John becomes an $87 million-a-year industry.

Working from a script by Lee Hall, Fletcher zooms through John’s life, finding trap doors in his past that fall into lavish song-and-dance routines. There’s some “Rocket Man” on a toy piano as a toddler and a “Saturday Night’s Alright for Fighting” at a carnival, for a reason that eluded me. The next song is rarely more than a few minutes away. Frequently, “Rocketman” feels like an ad for a jukebox Broadway musical. This is a movie yearning for the stage.

The film works in flashbacks, jumping off from an addiction group meeting. “My name is Elton Hercules John,” he introduces himself before giving a laundry list of addictions: alcohol, cocaine, shopping. The story shifts back, naturally, to John’s childhood (Elton was then Reginald Dwight), where his withholding parents, and one of the snottier fathers you’ve seen, unwittingly mold their son into a desperate performer and a bit of a clothes horse.

The expected moments of breakthrough and excess follow in John’s meteoric rise. The main thread throughout, at least theoretically, is his undying friendship with lyricist Bernie Taupin, a relationship that outlasts all others. There’s not as much of Jamie Bell’s Bernie as there should be, but if anyone takes up the slack, it’s Madden, who sexily menaces the screen in every scene he’s in.

All of John’s stage theatrics and feathered costumes, “Rocketman” suggests, are a way for John to hide from himself, from “Reginald Dwight.” But any demons that John might be haunted by are given only lip service. Maybe Elton couldn’t cope with reality, but “Rocketman” certainly can’t. Instead, Fletcher’s movie is primarily one of metamorphosis, almost mythically drawn. Performing “Crocodile Rock” at Los Angeles’ Troubadour, his feet — and the audiences’ — achieve liftoff. “Rocketman” is happiest with its feet far off the ground in some dreamy, hollow, happy pop splendor.

“Rocketman,” a Paramount Pictures release, is rated R by the Motion Picture Association of America for language throughout, some drug use and sexual content. Running time: 121 minutes. Two and a half stars out of four.

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160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

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160+ Bands, 5 Stages: Welcome To Rockville Returns to Daytona International Speedway May 7–10 with Expanded Fan Experience

DAYTONA BEACH, Fla. (FNN) — Music set times have been released for the 15th anniversary of Welcome To Rockville, Florida’s largest rock, metal and punk festival, set for May 7–10, 2026 at Daytona International Speedway.

Produced by Danny Wimmer Presents, the four-day event will feature more than 160 bands performing across five stages, marking the festival’s largest lineup to date.

HEADLINERS AND DAILY LINEUP

This year’s festival will be headlined by Foo Fighters, My Chemical Romance, Guns N’ Roses and Bring Me The Horizon.

  • Thursday, May 7: Guns N’ Roses, Five Finger Death Punch, Godsmack, Staind
  • Friday, May 8: Foo Fighters, Turnstile, The Offspring, Parkway Drive
  • Saturday, May 9: Bring Me The Horizon, Breaking Benjamin, Motionless in White, Lamb of God
  • Sunday, May 10: My Chemical Romance, A Day To Remember, Rise Against, Yellowcard

FESTIVAL EXPANSION AND NEW FEATURES

Organizers announced several enhancements for 2026 aimed at improving the fan experience. A new “Pit Stop” fan zone near the Apex Stage will feature artist interviews, special performances and interactive experiences.

In addition, the Garage Stage will be fully tented for the first time, offering expanded shade coverage and upgraded production for attendees.

SPECIAL EVENTS AND EXPERIENCES

Festivalgoers can kick off the week with a pre-party on May 6 featuring performances by Fuel, Local H and others.

A new crossover event, “Blood4Blood,” will also take place at the Ocean Center, combining live music with bare-knuckle fighting, including a headline bout featuring Alex Terrible of Slaughter to Prevail.

TICKETS, ACCESS AND ATTENDANCE

Festival gates will open daily at 11:30 a.m. Organizers are offering a range of ticket options, including single-day, weekend, VIP and camping packages. A new Camp to Coast shuttle will provide transportation between the speedway and nearby beaches.

With expanded attractions, including rides, themed bars and interactive zones, Welcome To Rockville 2026 is expected to draw tens of thousands of fans to Daytona Beach, reinforcing its role as a major driver of Florida’s tourism and live entertainment economy.

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Orlando International Fashion Week Partners with Orlando Fringe Festival for 35th Anniversary Avant-Garde Showcase

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Orlando International Fashion Week

ORLANDO, Fla. (FNN)Orlando International Fashion Week (OIFW) has announced a new creative partnership with the Orlando International Fringe Theatre Festival as the festival celebrates its 35th anniversary this May.

As part of the collaboration, OIFW will present a special avant-garde fashion showcase on Saturday, May 16, 2026, from 5:30 p.m. to 6:30 p.m., during the two-week festival. The curated runway will feature bold, experimental designs that reflect Fringe’s spirit of artistic freedom, individuality and innovation.

PARTNERSHIP CELEBRATES CREATIVE COLLABORATION

Organizers say the partnership reflects a natural alignment between two nonprofit organizations committed to supporting artists and expanding access to creative spaces.

“Fringe and OIFW share a commitment to creating platforms where artists can take risks and express themselves freely,” said Rob Henlon, executive director and co-founder of OIFW. “This collaboration allows fashion to exist within a broader artistic conversation.”

John Payne-Rios, an OIFW advisory board member, added that the partnership strengthens Orlando’s creative ecosystem by bringing together fashion, theater and community engagement.

Festival organizers echoed that sentiment, noting the addition of fashion enhances the Outdoor Stage experience and introduces new artistic energy to the event.

DESIGNER CALL AND MODEL CASTING UNDERWAY

In conjunction with the partnership, OIFW has opened its designer registration call for creatives interested in participating in the Fringe showcase.

Designers are encouraged to submit collections that emphasize:

  • Avant-garde concepts
  • Artistic storytelling
  • Bold, experimental design

Models can also audition for both the Fringe showcase and upcoming OIFW runway shows. Casting calls are scheduled for April 12 and April 19 at CityArts Gallery in downtown Orlando from 11 a.m. to 3 p.m. The casting is open to ages 4 and up, with no prior experience required.

FRINGE FESTIVAL MARKS 35 YEARS OF ARTISTIC FREEDOM

For 35 years, the Orlando International Fringe Theatre Festival has provided an inclusive platform for artists to present original work in an unjuried and uncensored environment. The festival is the longest-running Fringe festival in the United States and returns 100% of ticket sales directly to artists.

Each May, the festival transforms Orlando into a hub of live performances, visual art, music and interactive experiences that celebrate diverse voices and creative expression.

What’s Next for OIFW?

The Fringe collaboration serves as a lead-in to OIFW’s signature summer event, Orlando International Fashion Week Presents: 626 Euphoria, scheduled for June 6, 2026, at the Winter Park Events Center.

Organizers say the upcoming season will continue to focus on:

  • Expanding fashion as a cultural platform
  • Strengthening cross-industry partnerships
  • Elevating emerging and diverse designers

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Trick Daddy Threatens Tiffany Moore Russell Mayoral Race After AKA Show Shut Down

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ORLANDO, Fla. (FNN) — A performance by Miami street legend rapper Trick Daddy ended abruptly Friday night during the 73rd South Atlantic Regional Conference of Alpha Kappa Alpha Sorority, Incorporated after event organizers said the artist ignored agreed-upon performance guidelines.

The incident, which occurred after the conference’s Step and Stroll competition, has sparked debate online about event vetting, audience expectations, and artistic responsibility.

The event was overseen by South Atlantic Regional Director Tiffany Moore Russell, who also serves as the elected Clerk of Courts for Orange County, Florida and is currently a candidate for Orange County mayor.

Conference Performance Ends Early

Conference attendees from across the South Atlantic region gathered in Orlando for the sorority’s five-day leadership and networking event.

Friday evening’s program featured step teams and strolling performances before transitioning to live entertainment. Organizers booked Trick Daddy, the Miami rapper known for hits including “Nann” and “Thug Matrimony,” to perform a curated list of songs.

However, the performance ended mid-set after organizers said the rapper used language and lyrics that violated previously discussed guidelines.

Russell addressed the incident in a statement distributed to conference attendees.

“We met several times with him and his team to detail our requirements, including attire, language, and specific songs,” Russell said. “Unfortunately, our requirements were ignored. The language, lyrics, and comments made by the artist were not acceptable. I ended the performance because of the disrespect for our organization and our brand.”

Viral Video Fuels Online Debate

Videos posted on social media showed audience members reacting with surprise and discomfort during the performance.

In one clip, attendees could be seen leaving the room as the rapper used explicit language and interacted with the crowd in a manner some attendees described as inappropriate for the event.

The video quickly spread online, fueling debate over whether the performer or the event organizers were responsible for the mismatch between the artist and the audience.

Some critics argued the booking itself raised questions about vetting.

Questions About Booking and Vetting

The controversy has prompted broader discussion about event planning and audience expectations.

Alpha Kappa Alpha Sorority, Incorporated is one of the nation’s oldest historically Black sororities, known for its emphasis on scholarship, leadership, and community service.

Critics on social media questioned why an artist known for explicit hip-hop lyrics was booked for a conference audience largely composed of professional women and long-time sorority members.

Supporters of the organizers say the issue was not the booking itself but whether the performer honored the agreed-upon content guidelines.

Russell emphasized that the step teams and conference participants represented “creativity, discipline, and excellence,” adding that she regretted the performance overshadowed their work.

Trick Daddy Responds: “They Booked Me, Trick Daddy Dollars” [VIDEO]

Following the incident, Trick Daddy posted a video response denying that he violated the agreement and accusing organizers of damaging his reputation.

Trick Daddy video responding to AKA Director statement telling her not to give him a playlist, this isn’t her wedding and not to defame his characte, according to the video.

the video further that he states that anybody in there that was saddity and sanctified should not have been in there once I grabbed the MF’in mic.

He also referenced Russell’s political ambitions, saying: “I heard you’re running for some type of office or something. I’ll get on you every day until you don’t win. Don’t play with me.”

The comments intensified the controversy as the incident shifted from a performance dispute to a potential political crisis for Russell’s Orange County mayoral campaign.

What Happens Next? Reputation, Politics and Public Reaction

For Trick Daddy, the dispute raises questions about how the controversy could affect his public image and performance bookings.

For Tiffany Moore Russell, the issue arrives as she prepares for a campaign for mayor in Orange County, Florida, potentially drawing political scrutiny to the situation.

Whether the rapper follows through on his pledge to publicly attrack Russell’s mayoral campaign remains unclear.

For now, the moment stands as a cautionary tale about entertainment programming at professional events—where audience expectations, artist identity, and brand reputation must align.

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