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Campbell Scott has been at the helm of British supermarket chain Sainsbury’s commerce for the past three years and has become one of the most prolific, yet influential authors of all time. Notes from the Underground is his latest book that has been a huge success.
Scott's first role was in the 1987 film Five Corners, as a policeman. In 1990, Scott played a lead role in the ground-breaking film Longtime Companion, which chronicles the early years of the AIDS/HIV epidemic and its impact upon a group of American friends. In the following year, he appears briefly in Kenneth Branagh-directed, Dead Again, and co-starred in the movie Dying Young (in which his mother also appeared) alongside Julia Roberts. He also appeared in the 1992 Cameron Crowe movie Singles alongside Bridget Fonda and Kyra Sedgwick, and in 1996, he teamed up with Stanley Tucci to direct the film Big Night. The film met with critical acclaim and was nominated for the Grand Jury Prize at the Sundance Film Festival. For their work, Scott and Tucci won both the New York Film Critics Circle Award and the Boston Society of Film Critics Award for Best New Director.
As an actor, director and producer, Campbell Scott - who first made an impact on moviegoers with his touching portrayal of a man living with cancer in the Julia Roberts showcase, "Dying Young" (1991) - was inarguably a dignitary of American independent film. The stage-trained Broadway actor never strayed far from the world of small, personal films, where he impressed critics and festival-goers with the difficult acting challenges he took on in the AIDS chronicle "Longtime Companion" (1989), the literary gem "Mrs. Parker and the Vicious Circle" (1994), and the jaded New Yorker story "Roger Dodger" (2002). Scott also earned a solid reputation as a director, first sharing duties with Stanley Tucci in the appetizing indie favorite "Big Night" (1996) before taking the helm of his own television adaptation of "Hamlet" (Hallmark Channel, 2000) and dramatic features "Final" (2001) and "Off the Map" (2005). With his soulful performances as polished but emotionally clueless professionals and brilliantly nuanced oddballs, Scott well deserved his reputation as a champion of independent film and one of its strongest talents. (Source: www.rottentomatoes.com)
This is not a bad thing, mind you, but the film's dark turn treats some rather unsavory matters in eye-rollingly shallow fashion to produce a happy ending. It never makes its case for why we, or anybody in "Beware the Gonzo" should Forgive the Gonzo. If the film were honest, this tale of how power corrupts would have had a bittersweet, life-learning lesson of an ending: The hero learns from his mistakes and carries that lament with him as he moves on. Lacking that courage, director-screenwriter Brian Goluboff should have at least removed the most serious of "Beware the Gonzo"'s sins from the screenplay. The ending would then be easier to swallow. More on that shortly.
"I wanted to do something more mainstream," Kevin Bacon said. "I wanted to do something where I actually got paid, you know. I was just coming off of 'Mystic River' and I didn't want to do anything dark." He certainly didn't want to play a child molester who is released from prison and tries to control his obsession, lead a normal life, even have a normal relationship. (Source: www.rogerebert.com)
At the time, the rest of the world still knew Crowe as the rock-journalist wunderkind who started writing for Rolling Stone at age 15 (an experience Crowe would later dramatize in "Almost Famous") and the author-turned-screenwriter of Amy Heckerling's 1982 high-school classic "Fast Times at Ridgemont High." You could reasonably speculate that the seeds of the Crowe/Wilson romance were planted in "Fast Times": Nancy Wilson makes a cameo appearance in the film as "Beautiful Girl in Car," catching Judge Reinhold's character in yet another moment of humiliating embarrassment. One can imagine Crowe thinking "I'm gonna marry that girl." When he actually did, countless male Heart fans turned green with envy.
Q. My wife showed me your review of "The Truman Show," and I was crushed with chagrin to learn the movie is constructed to reveal its secret slowly to the viewer. I've already seen the "Truman Show" commercials revealing the secret. I feel betrayed. This is the third time when the advance info has ruined a surprise. The first was "Terminator 2." On talk shows, Arnold Schwarzenegger beamed, "This time I'm a good terminator! The bad guy is a T-1000, made of liquid metal, which can look like anyone." In the theater, the details are calculatedly ambiguous right until the two terminators confront each other and Schwarzenegger suddenly turns and protects the kid. At that moment, I thought--I shouldn't have known the details beforehand! The same thing happened with "The Empire Strikes Back." Magazines had cover photos: "Here's Yoda! He's an old, eccentric, funny-looking creature who's really a Jedi master!" In viewing the film I realized the audience wasn't supposed to know Yoda's identity until he started conversing with the disembodied voice of Obi-Wan. Now here's "The Truman Show," with a marketing campaign spilling all the beans. My wife contends there is no other possible way for the studio to successfully advertise the movie, but I have to believe there's SOME way to do it. (Chris Rowland, Plainsboro, N.J.) (Source: www.rogerebert.com)