Rufus Sewell

In addition to his work on the stage, Sewell had been acting on both the large and small screen, making his film debut in 1991 with Twenty-One, in which he played Patsy Kensit's junkie boyfriend. In 1994 he caught the attention of American art house filmgoers with his role as a sweet-natured bus driver who becomes the object of Albert Finney's affections in A Man of No Importance; the same year, PBS viewers could see him star in the acclaimed adaptation of Middlemarch.
Sewell's art house recognition increased the following year, when he had starring roles in John Schlesinger's Cold Comfort Farm and Carrington. The first film cast him as an earthy farmer accustomed to rolls in the hay, while the second cast him as one of Emma Thompson's army of spurned lovers. Both films helped to get him noticed, even if the attention centered primarily on his imported lust-object status, but it was not until 1998 that he was given his first starring role, headlining the cast of Dark City. Unfortunately, the film vaporized at the box office, as did Sewell's other film that year, Dangerous Beauty.
In 1999, the actor was again visible to transatlantic audiences, first as a bitter, alcoholic cokehead in The Very Thought of You, a romantic comedy released in Britain the previous year; and then in John Turturro's Illuminata, a turn-of-the-century romantic farce which cast him as an amorous actor. The latter film -- which also featured Susan Sarandon, Ben Gazzara, and Christopher Walken in its impressive cast -- won a number of good reviews, as did Sewell, an actor who by this point had made the expression of earthy lustiness into something of an endearing trademark.
In 2000 Sewell graced the screen in Bless the Child, a supernatural thriller that also starred Kim Basinger and Christina Ricci. Of course few actors of his generation could essay such instantly dislikable villains as the talented Sewell, and after raising the ire of the noble Heath Ledger in the popular period adventure A Knight's Tale, he would once again make viewer's skin crawl as an aristocratic creep with more than a few skeletons in the closet in Neil Burger's romantic fantasy The Illusionist. ~ Rebecca Flint Marx, All Movie Guide