| Richy Müller | ... | Billy Hayes | |
| Franz Buchrieser | ... | Max Marek | |
| Aviva Joel | ... | Eva Thompson | |
| Matthias Fuchs | ... | Felix Kronenberg | |
| Nikolas Lansky | ... | Gregor Vandenburg | |
| Matthias Heller | ... | Security Guard (as Matias Heller) |
Directed by | |||
| Roland Emmerich | |||
Writing credits(in alphabetical order) | ||
| Roland Emmerich | ||
Produced by | |||
| Bernd Eichinger | .... | co-producer | |
| Roland Emmerich | .... | co-producer | |
| Wolfgang Längsfeld | .... | producer | |
| Hans Weth | .... | producer | |
| Peter Zenk | .... | producer | |
Original Music by | |||
| Hubert Bartholomae | |||
Cinematography by | |||
| Egon Werdin | |||
Film Editing by | |||
| Tomy Wigand | |||
Production Design by | |||
| Matthias Kammermeier | |||
| Sebastian Stadler | |||
Set Decoration by | |||
| Annette Deiters | |||
| Roger Katholing | |||
Costume Design by | |||
| Matthias Heller | (as Matias Heller) | ||
| Dorota Mazurkiewics | |||
Makeup Department | |||
| Monika Schoel | .... | makeup artist | |
Second Unit Director or Assistant Director | |||
| Markus Bräutigam | .... | assistant director | |
| Sebastian Lentz | .... | assistant director | |
| Oswald von Richthofen | .... | assistant director | |
Art Department | |||
| Ina Becker | .... | props | |
| Cornelia Hopf | .... | props | |
Sound Department | |||
| Peter R. Adam | .... | sound | |
| Milan Bor | .... | sound mixer | |
| Corina Dietz | .... | sound editor | |
| Hans Endrulat | .... | sound | |
| Michael Hermes | .... | synch sound | |
| Titus Lange | .... | sound | |
| Robert Wiesmann | .... | sound (as Bob Wiesmann) | |
Special Effects by | |||
| Jacques Engels | .... | special effects | |
| Guido Görisch | .... | special effects | |
| Thomas Herbrich | .... | special effects | |
| Egon Werdin | .... | special effects | |
Visual Effects by | |||
| Thomas Merker | .... | additional photography | |
| Thomas Merker | .... | visual effects | |
Editorial Department | |||
| Susanne Schlegelmilch | .... | assistant editor | |
Other crew | |||
| Reinhard Albrecht | .... | production assistant | |
| Caro Bull | .... | production assistant | |
| Manfred Mayr-Haug | .... | dialogs | |
| Michael Wagner | .... | titles | |
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| Contact | Stargate | Star Trek: Generations | Earth vs. the Flying Saucers | Kidô senshi Gandamu |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Sci-Fi section | IMDb West Germany section |
The year is 1997, and World Peace seems to have come, with most classic weapons of mass destruction having been abandoned. However, orbiting the Earth there is the European/American space station FLORIDA ARKLAB, capable of controlling the weather at any location on the planet underneath. A civil project by nature, it might be abused as an offensive weapon, since it could deliver devastation to any potential adversary simply by creating natural disasters such as storms and floods. No wonder the space station soon becomes the central point in rising political tensions between East and West, next stop World War 3 (as indicated by the German tagline (transl.) "The end of our future has already begun"). We're following the main protagonist Billy Hayes, an astronaut aboard the station, as he wades through a plot of secrecy and sabotage trying to tell friend from foe in the process.
This film is the first "real" movie by Roland Emmerich, and knowing his later works, it is, simply speaking, surprisingly good. First off, it was and is a visual treat by any standard, with well-crafted models and a set-design that made a point in trying to look as realistic as possible. At that, it is visually reminiscent of many other movies from that era (Star Wars or Moonraker, to name some), but doesn't fail nearly as badly as some of them do; it simply looks good. And what's more, this movie has a story that makes some sense and won't let you leave your seat until it is resolved. The acting is good, the characters are well drawn and partly are in for some surprise. The general mood is by no means optimistic, this is definitely a Cold War scenario, which nowadays of course has the tendency to make you chuckle, considering that 1997 looked totally different than portrayed in the movie.
Bottom line: if you know later Emmerich blockbusters such as ID4 and Godzilla, you definitely notice his handwriting in this one, and seeing the path he took from here on makes sense. But much unlike said later works, this movie excells not only in the audio and CGI department, but also has something like characters and storyline. People liked ID4 as a cineastic lollipop, but as a film, this one is far better than most