Owen Wilson is an actor, but think of him as a sort of secret agent. He has an offbeat, indie-movie sensibility. Every so often, however, he infiltrates some big-budget movie he clearly doesn't belong in - 'Anaconda,' 'Armageddon,' 'The Haunting' - and struggles valiantly to stop it from sucking.
By now, we all know that Hollywood producers always chase after the same properties, that the sharks circle simply because the other sharks are circling.
My father-in-law lives in Montana, and we would come here every summer.
It's been said that Generation X should get a life. Well, in 'Bottle Rocket,' they get a life of crime. Or at least try.
Authors all have at least one thing in common, which is that when we finally get finished copies of our books, we get giddy as kindergartners. We touch them constantly, and build towers with them, and take pictures of our cats and dogs reading them.
It has taken Thomas Harris 11 years to publish the sequel to 'The Silence of the Lambs,' which suggests that while everyone was desperate to read it, he was not desperate to write it.
Scott Bradfield writes weird, oblique, unsettling stuff.
In the annals of the rich and miserable, Christina Onassis stands out, if only because she was so rich and so miserable.
Tim Burton's 'Sleepy Hollow' has got to be the most gorgeous, sumptuous, painterly movie ever made about multiple decapitations.
Sharon Stone has made a fortune from her movies, so who says you can't get something for nothing?
When salaries skyrocket, budgets skyrocket, and then rigor mortis sets in: moviemakers turn out formulaic junk in an effort to hedge their bets.
Tobias Wolff is a hell of a writer, but you knew that already. His first memoir, 'This Boy's Life,' was a Huck Finn story set in the Eisenhower era - a story so rich and wounding that not even Hollywood could make a bad movie out of it.
