Ex-Gang Leader to Get Date for Murder Trial Stemming from 1996 Killing of Tupac Shakur 

Artist Joaquin Saavedra MacCarthy Thin paints a mural depicting rapper Tupac Shakur during a ceremony for a street renaming in the rapper's honor in Oakland, California, US, November 3, 2023. (Reuters)
Artist Joaquin Saavedra MacCarthy Thin paints a mural depicting rapper Tupac Shakur during a ceremony for a street renaming in the rapper's honor in Oakland, California, US, November 3, 2023. (Reuters)
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Ex-Gang Leader to Get Date for Murder Trial Stemming from 1996 Killing of Tupac Shakur 

Artist Joaquin Saavedra MacCarthy Thin paints a mural depicting rapper Tupac Shakur during a ceremony for a street renaming in the rapper's honor in Oakland, California, US, November 3, 2023. (Reuters)
Artist Joaquin Saavedra MacCarthy Thin paints a mural depicting rapper Tupac Shakur during a ceremony for a street renaming in the rapper's honor in Oakland, California, US, November 3, 2023. (Reuters)

A former Southern California street gang leader charged with killing rap icon Tupac Shakur in Las Vegas in 1996 is expected Tuesday to learn the date for his murder trial, probably next year.

Duane Keith “Keffe D” Davis won't face the death penalty but could be sentenced to life in prison if he’s convicted of one of hip-hop’s most talked-about killings. He pleaded not guilty last Thursday and remains jailed in Las Vegas.

Davis, 60, is originally from Compton, California. He was arrested Sept. 29 outside a Las Vegas-area home where police served a search warrant July 17.

In recent years, Davis said in interviews and a 2019 tell-all memoir that he orchestrated the drive-by shooting that killed Shakur at age 25 and wounded rap music mogul Marion “Suge” Knight.

Knight, now 58, is serving 28 years in a California prison for the death of a Compton businessman in 2015.

Davis is the only person still alive who was in the vehicle from which shots were fired. He has also said he was diagnosed with cancer.

Prosecutors say the shooting followed clashes between rival East Coast and West Coast groups for dominance in the musical genre dubbed “gangsta rap.” The grand jury was told that Shakur was involved in a brawl at a Las Vegas Strip casino with Davis’ nephew, Orlando “Baby Lane” Anderson, shortly before the shooting.

Anderson, then 22, denied involvement in Shakur’s killing. He died two years later in a shooting in Compton.

Davis implicated himself during multiple interviews and his memoir that described his life leading a Crips gang sect in Compton.

He wrote that he was promised immunity from prosecution in 2010 when he told authorities in Los Angeles what he knew about the fatal shootings of Shakur and rival rapper Christopher Wallace six months later in Los Angeles. Wallace was known as The Notorious B.I.G. or Biggie Smalls.

Shakur had five No. 1 albums, was nominated for six Grammy Awards and was inducted in 2017 into the Rock & Roll Hall of Fame. He received a posthumous star this year on the Hollywood Walk of Fame.

A street near where Shakur lived in Oakland, California, in the 1990s was renamed last Friday in his honor.



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.