A backstage glimpse of the realities of the new Hollywood focuses on the film releases and strategies of the summer of 1998, showing why "Godzilla" was fated to fail and how Spielberg triumphed In the summer of 1998, as far as Hollywood was concerned, nothing went the way it was supposed to. As Peter Bart recaps that season: A cheaply made gross-out comedy generated twice the revenues of a Steven Spielberg high-concept adventure; two pricey asteroid films collided, yet neither suffered damage; Jim Carrey made a hit movie that didn't offer a single laugh; Eddie Murphy buried his hard edge long enough to make two successful, warm-and-cuddly family films; Harrison Ford made a love story playing opposite a self-avowed lesbian; and finally, defying the mythology of the "youth demos," two stars in their sixties, Robert Redford and Warren Beatty, enjoyed yet another warm moment in the sun. Bart is a seasoned observer of the film industry both as studio executive (holding seats at Paramount and MGM/UA) and as the editor in chief of Variety and Daily Variety . His insider's perspective, and his ability to gain access to the major players in the business, serve him well here. The Gross is filled with juicy behind-the-scenes stories on how certain summer blockbusters got made and positioned for release--even though the book could strongly benefit from both an index, to make finding information on particular films easier, and information on its sources, to determine exactly how much of the story is Bart's original legwork and how much comes from the trades. Along the way, he sketches a grim portrait of an industry whose leaders have become increasingly frustrated with the high cost of filmmaking; even when they're making fun-filled romps like The Mask of Zorro and Armageddon , people at the studios don't seem to be enjoying themselves. Bart manages to cover almost every major summer release of '98 with enough detail to hold readers' interest, so while The Gross may not be the ultimate overview of the film business, it's a captivating snapshot of an industry in flux. --Ron Hogan In lively and instructive fashion, Variety's editor-in-chief examines a moviegoing season that seems like yesterdayAbecause it was. Via interviews with actors, directors, studio executives, producers, and writers, Bart traces the genesis, development, and marketing of, in particular, The Truman Show, Armageddon, Bulworth, Godzilla, There's Something About Mary, Lethal Weapon IV, The Mask of Zorro, Small Soldiers, Deep Impact, Saving Private Ryan, and Six Days, Seven Nights. We witness the success or failure of these and other films during 18 summer weeks and learn how special effects, star salaries, cooperative ventures, and merchandising deals compromise studio profits. Cinema students as well as casual moviegoers will question some of Bart's conclusionsAspecial effects movies are not a "distinct genre," and Anthony Hopkins and Antonio Banderas are major starsAand occasionally facts are wrong (e.g., Splendor in the Grass was released in 1961, not 1966). These caveats aside, The Gross is a fascinating inside look at filmmaking that leaves one wondering how anything cohesive is ever projected on the big screen. For public and academic libraries and performing arts collections.AKim Holston, American Institute for Chartered Property Casualty Underwriters, Malvern, PA Copyright 1999 Reed Business Information, Inc. The Gross is probably the best guide around to "the way things are in the 90's"--for good reasons and bad. -- The New York Times Book Review , Michael Sragow No question, Bart is a thoroughly informed tour guide, eminently qualified to steer us through Hollywood's countdown-to-extinction landscape of ever-grander blockbuster vehicles. -- Entertainment Weekly , Steve Daly "Peter Bart knows whereof he writes...A former reporter for both the Wall Street Journal and the New York Times , he has been revitalizing that 'Bible' of showbiz, Variety ." --Liz Smith, columnist "For the better part of twenty years, he roamed the corridors of power at Paramount, Lorimar, and MGM, green-lighting the big pictures as a bona fide and influential member of 'The Club.'...Peter Bart emerges as part muckraker, part mogul, a Hollywood player with a reservoir of insider knowledge." -- GQ "Bart has turned Variety from a repository of dull facts into a hard-hitting investigative sheet." -- Newsweek "Bart's columns are very smart, very well written, and very quotable." -- New York magazine Peter Bart is the editor-in-chief of weekly Variety , Daily Variety , and its sister publication, Daily Variety--Gotham Edition . He spent ten years as a reporter for the Wall Street Journal and the New York Times before entering the motion picture industry. He was a studio executive at Paramount, Lorimar, and MGM/UA, overseeing such influential films as The Godfather , Harold and Maude , Rosemary's Baby and Being There . He lives in Los Ang