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Directed by | |||
| Roger Corman | |||
Writing credits(WGA) | ||
| Brian Aldiss | (novel) (as Brian W. Aldiss) | |
| Roger Corman | (screenplay) and | |
| F.X. Feeney | (screenplay) | |
Produced by | |||
| Jay Cassidy | .... | associate producer | |
| Roger Corman | .... | producer | |
| Kobi Jaeger | .... | producer | |
| Laura J. Medina | .... | associate producer | |
| Thom Mount | .... | producer | |
Original Music by | |||
| Carl Davis | |||
Cinematography by | |||
| Armando Nannuzzi | |||
| Michael Scott | |||
Film Editing by | |||
| Mary Bauer | |||
| Jay Cassidy | (as Jay Lash Cassidy) | ||
Casting by | |||
| Caro Jones | |||
Production Design by | |||
| Enrico Tovaglieri | |||
Set Decoration by | |||
| Ennio Michettoni | |||
Costume Design by | |||
| Franca Zucchelli | |||
Makeup Department | |||
| Guiliana DeCarli | .... | makeup artist | |
| Nick Dudman | .... | special makeup effects | |
| Richard Glass | .... | standby contact lens optician | |
| Romana Piolanti | .... | hair stylist | |
| Suzanne Reynolds | .... | prosthetic makeup | |
Art Department | |||
| Barbara Anne Bock | .... | storyboard artist | |
| Keith Crossley | .... | storyboard artist | |
| Giuseppe Mancarella | .... | property master | |
| Gary Randall | .... | production designer: second unit | |
Sound Department | |||
| Gary Alper | .... | sound mixer | |
| Stefano Bausano | .... | boom operator | |
| Harry Cohen | .... | digital sound effects designer | |
| Terry Fiyalko | .... | dialogue editor | |
| Tim Gedemer | .... | digital sound effects editor | |
| Lewis Goldstein | .... | adr editor (as Lew Goldstein) | |
| Greg Hodge | .... | digital sound effects editor | |
| George Johnsen | .... | post-production sound supervisor | |
| Patrick Johnston | .... | post-production sound supervisor | |
| Ossama Khuluki | .... | foley artist | |
| Tanya McGinnis-Potvin | .... | foley recordist (as Tanya McGinnis) | |
| Ken S. Polk | .... | sound re-recording mixer | |
| Katie Rowe | .... | foley artist | |
| Ann Scibelli | .... | digital sound effects editor | |
| Ken Teaney | .... | sound re-recording mixer | |
| Jeff Vaughn | .... | foley editor | |
Special Effects by | |||
| Renato Agostini | .... | set special effects | |
Visual Effects by | |||
| Syd Dutton | .... | visual effects | |
| Bruno George | .... | optical effects | |
| Bret Mixon | .... | rotoscoping | |
| Mark Sawicki | .... | matte photography | |
| Robert Stromberg | .... | matte artist | |
| Bill Taylor | .... | visual effects | |
| David S. Williams Jr. | .... | optical effects | |
Stunts | |||
| Corrado Burletta | .... | stunts | |
| Domenico Cianfriglia | .... | stunts | |
| Giovanni Cianfriglia | .... | stunts | |
| Steve Dent | .... | stunts | |
| Nick Gillard | .... | stunts | |
| Chrissy Monk | .... | stunts | |
| Marco Stefanelli | .... | stunts | |
| Paul Weston | .... | stunt coordinator | |
| Silvano Zuddas | .... | stunts | |
Casting Department | |||
| John Leamer | .... | additional casting (uncredited) | |
Editorial Department | |||
| Phil Hetos | .... | color timer | |
| Brian Ralph | .... | negative cutter | |
Music Department | |||
| Carl Davis | .... | conductor | |
| Peter Fuchs | .... | score recordist | |
| Robert Hathaway | .... | music editor | |
| Nic Raine | .... | orchestrator | |
Transportation Department | |||
| Alessandro Gatti | .... | transportation captain | |
Other crew | |||
| Thomas 'Doc' Boguski | .... | production coordinator: USA | |
| Robert C. Campion | .... | production controller | |
| Clarita Di Giovanni | .... | script supervisor | |
| Geoff Freeman | .... | unit publicist | |
| Roberto Gallarati | .... | location manager | |
| Anne Nevin | .... | production coordinator | |
| Raymond Tricker | .... | prosthetic mould designer | |
| Ian Whittaker | .... | animatronics engineer | |
| Wharton Winstead | .... | assistant to producer | |
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| Frankenstein | Frankenstein | Frankenstein | On a Clear Day You Can See Forever | Gentlemen Don't Eat Poets |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
I really like this movie and can't understand why some people seem to enjoy trashing it and picking apart every little detail. Haven't they seen any of Corman's old films? Were they expecting some kind of masterpiece this time around?
That said, I thought that the "double opposable thumb" idea was excellent - seems like a plausible next evolutionary step.
The talking car was AWESOME! It's MUCH better than K.I.T.T. from Knightrider. I especially like the part when he goes into the past and the car is checking for satellites and radio stations, and all the cool graphics come up as the car reports that it can't find any types of links to modern society. It really made me think, "Woah! How would a person from the year 2004 deal with that situation?" Cell phone doesn't work, no payphones around, no phones of ANY kind, no Television or radio, none of the modern conveniences that we take for granted these days...
I love SciFi, futuristicky kinda stuff. So the ending (although somewhat confusing) was also enjoyable to me. If you like time-travel type Sci-Fi movies, I would definitely recommend this movie to you.