Campbell Scott Movies

This biography takes a look at the life of former American president Bill Clinton, from his humble childhood in Arkansas, to his early years as a politician, and the two terms he spent serving as President of the United States. The program also examines the scandals that plagued Clinton's reign and contributed to his already complex image. In addition, former Clinton insiders, staffers, foreign leaders, childhood friends, and members of the Republican oppositian contribute their thoughts and experiences with Clinton. ~ Tracie Cooper, Rovi

This documentary about controversial sexologist Alfred Kinsey uses archival footage interspersed with interviews with those who knew the scientist to paint a picture that shows how Kinsey's own sexual predilections may have influenced the groundbreaking work he accomplished while working at the University of Indiana. Among those interviews are family members, co-workers, and a people who actually took Kinsey's revolutionary survey. ~ Perry Seibert, Rovi

The life and legacy of atomic bomb creator J. Robert Oppenheimer serves as the subject of this installment of PBS's American Experience. His name forever bound to the Manhattan Project, America's most famous top-secret initiative, Oppenheimer presided over the assembly of the atomic bomb that helped end World War II. The legacy of the charismatic scientist would soon be tainted, however, by accusations of treason. Why did the country who once hailed Oppenheimer as a national hero suddenly turn their backs on him? Academy Award-nominated actor David Strathairn stars as Oppenheimer in a documentary profile of the man who would ultimately emerge as one of the 20th Century's most important, yet controversial figures. ~ Jason Buchanan, Rovi

In this witty drama, a pair of brothers debate integrity versus compromise as they try to succeed in the restaurant business. Primo (Tony Shalhoub) and Secondo (Stanley Tucci) have journeyed from Italy to New Jersey in the mid-1950s, determined to make a killing with an authentic Italian restaurant, The Paradise. But their food is a bit too authentic; Primo may prepare a superb risotto, but most of his customers are wondering why they can't get a bowl of spaghetti and meatballs. Secondo tries to convince his brother not to berate the customers for requesting more "American" dishes, but Primo stands firm. Meanwhile, Pascal (Ian Holm), another local restaurateur, is doing great business with "Italian style" food the brothers wouldn't bother to spit on. Despite Primo's refusal to change his recipes to cater to lowbrow tastes, Secondo goes to Pascal begging for advice. With The Paradise on its last legs, Pascal offers to help -- Louis Prima, the famous Italian-American bandleader, is coming to town, and Pascal is to arrange a banquet in his honor. He'll stage the banquet at The Paradise in the hopes that Prima and his entourage (and hopefully the accompanying press) will fall in love with the authentic food and sing the praises of the foundering restaurant as he tours the country. The preparations for the big night and the behind-the-scenes family drama that ensues is highlighted by a strong supporting cast of Minnie Driver, Isabella Rossellini, and Allison Janney. Stanley Tucci, who plays Secondo, co-directed with Campbell Scott, who has a small but memorable role as a car salesman. ~ Mark Deming, Rovi

An unborn child has to be convinced that moving into the big, bad world is a good idea in this comic fantasy. Elizabeth (Bridget Fonda) and her husband Kevin (Campbell Scott) are a couple expecting a baby, who is due at any time, and when labor sets in, they rush to the hospital in anticipation of the blessed event. But after Elizabeth spends many hours in labor, nothing seems to be happening, throwing both her and her husband into a state of panic. As it turns out, their son-to-be, Milo (Anton Yelchin), is waiting in the otherworldly Life Training Center, where children about to be born are shown the ropes of how life on Earth works by a staff led by Mr. Gordon (Douglas Spain). Milo, however, has gotten cold feet, and decides he doesn't want to put up with the bother of life on Earth. Having a child refuse to make the journey into the real world could upset the balance of the universe, so fallen angel Elmore (Albert Finney) is given a final chance at redemption by the Powers That Be -- Elmore is to take Milo on a tour of Earth and convince him to say the five magic words, "I want to be born." Delivering Milo was shown at the 2001 Cannes Film Festival, and made its North American debut at the Palm Springs Film Festival the same year. ~ Mark Deming, Rovi

Directed by Joel Schumacher, Dying Young was adapted from a novel by Marti Leimbach. When Victor Geddes (Campbell Scott) discovers that he is suffering from leukemia, his wealthy family hires pretty, young Hillary O'Neil (Julia Roberts) to help nurse him through his chemotherapy treatment. As the two struggle through the debilitating effects of Victor's treatment, they fall in love and attempt to make the most of their time together. Campbell Scott's real mother, the late Colleen Dewhurst, plays his "reel" mother in the film. ~ Iotis Erlewine, Rovi

A man struggles to prove he isn't insane -- which is no mean feat when you're certain you're been transported 400 years into the future. Anne (Hope Davis) is a psychiatrist working at a hospital for the criminally insane whose latest charge is Bill Tyler (Denis Leary), a man who was recently admitted when he was found inside a wrecked truck found in a quarry. Bill isn't sure just where he is or what's happened to him, but he's certain he's traveled four centuries into the future, and if he can't find a way to get back to the past within 48 hours, assassins will execute him by lethal injection. Anne is bemused by Bill's odd story, but doesn't challenge him on it, instead questioning him in detail about everything he can recall about his past prior to being brought in. As Bill rants about lasers and holographic images, shares his periodic hallucinations, and discusses his feelings about his family and his former girlfriend, he becomes increasingly lucid, and Anne has to figure out how much of Bill's story is fantasy, and how much is fact. Final was written by Bruce McIntosh, who based the script on his own stage play; the feature (shot on digital video) was directed by actor Campbell Scott. ~ Mark Deming, Rovi

Quirky comedy, intense drama, and warm nostalgia are all combined in this eccentric look at one night in 1964 amongst the residents of the Five Corners neighborhood of the Bronx. The bulk of the film concerns Linda (Jodie Foster), a young woman who finds herself stalked by a disturbed rapist fresh out of prison. Needing protection, she turns to her formerly tough ex-boyfriend, only to discover that a recent political awakening has transformed him into a pacifist. The tension of Linda's situation is leavened by the film's attention to its bizarre subplots, which include a stolen penguin, partying teenagers who encounter trouble with an elevator, and a pair of detectives investigating a series of mysterious bow-and-arrow attacks. The script by John Patrick Shanley, who won the 1987 Academy Award for Best Original Screenplay for Moonstruck, manages to (for the most part) bring these seemingly unrelated stories together into a fairly logical conclusion. Even though numerous critics felt that Five Corners' mixture of widely disparate tones was not completely successful, the end result is a surprisingly charming and unique tribute to a time and a place. ~ Judd Blaise, Rovi

From Hollywood to Deadwood is an agreeable private-eye yarn, at once a spoof and a tribute to the film noir output of the 1940s. Detectives Savage and Haines (Scott Paulin, Jim Haynes) are hired to locate Lana Dark (Barbara Schock), a movie actress whose absence is costing her studio tons of money. The two Sherlocks follow the evidence trail to Deadwood, South Dakota. Here, Savage begins a one-sided romance with the restless Lana. He learns that her disappearance was all part of an insurance scam. He further learns that now that he knows all, his life, not to mention the lives of Haines and Lana, aren't worth a plug nickel. Though the film wastes no time with inessentials, we learn a lot more about the emotional and psychological makeup of the three protagonists than is customary for films of this nature. ~ Hal Erickson, Rovi

Campbell Scott is both star and co-director of this elaborate (albeit economically produced) four-hour TV version of Shakespeare's immortal tragedy Hamlet, Prince of Denmark. The film is based on Scott's earlier theatrical production of the same play, with several of the same actors repeating their same roles. Updated to 1900 New York, the text remains substantially the same as it has always been: Hamlet (Scott), the "melancholy" Danish prince, discovers to his horror that his late father, the King, was murdered by his brother (and Hamlet's uncle) Claudius (Jamey Sheridan), who upon ascending to the throne, added insult to injury by wedding Hamlet's mother, Gertrude (Blair Brown). Though his desire for revenge is strong, Hamlet does not want any more bloodshed, and concocts an elaborate scheme to "catch the conscience" of Claudius and force him into a confession. Part of this scheme involves Hamlet's feigned descent into madness -- which, as interpreted by Scott, may not be as "feigned" as he thinks it is. Caught in the middle of this intrigue is Hamlet's lady love, Ophelia (Lisa Gay Hamilton), daughter of Claudius' chief consul, Polonius (played in the manner of a protocol-conscious Victorian diplomat by Roscoe Lee Browne). Some of the choices made by Scott in adapting Hamlet to the screen -- the turn-of-the-century setting; the utilization of black actors in the roles of Polonius, Ophelia, and Laertes (who is played by Roger Guenveur Smith); the casting of Byron Jennings to play both the Ghost of Hamlet's father and the Player King, who pretends to be the father -- were applauded by the critics. Other innovations, notably the use of slow jazz music throughout the action, and Hamlet's violent treatment of poor Ophelia during the "Get thee to a nunnery" scene, were not so enthusiastically received. Whatever the case, Scott does a remarkable job with a tiny budget and a slim 29-day shooting schedule. In addition to the actors' lilting interpretation of the Shakespearean dialogue and soliloquies, the film boasts a truly exciting climactic duel, shot in long takes without the use of stunt doubles. Initially produced for a theatrical release, this Hamlet made its American debut as a cable TV miniseries on the Odyssey Channel, beginning December 10, 2000. ~ Hal Erickson, Rovi