| Don Keith Opper | ... | Charlie McFadden | |
| Terrence Mann | ... | Counselor Tetra / Ug | |
| Paul Whitthorne | ... | Ethan | |
| Anders Hove | ... | Rick | |
| Angela Bassett | ... | Fran | |
| Brad Dourif | ... | Al Bert | |
| Eric DaRe | ... | Bernie | |
| Martine Beswick | ... | Angela (voice) | |
| Anne Ramsay | ... | Dr. McCormick |
Directed by | |||
| Rupert Harvey | |||
Writing credits(WGA) | ||
| Rupert Harvey | (story) & | |
| Barry Opper | (story) | |
| Joseph Lyle | (screenplay) and | |
| David J. Schow | (screenplay) | |
Produced by | |||
| Rupert Harvey | .... | producer | |
| Barry Opper | .... | producer | |
| Mark Ordesky | .... | associate producer | |
Original Music by | |||
| Peter Manning Robinson | |||
Cinematography by | |||
| Thomas L. Callaway | |||
Film Editing by | |||
| Terry Stokes | |||
Casting by | |||
| Nina Axelrod | |||
Production Design by | |||
| Philip Dean Foreman | |||
Art Direction by | |||
| Jeff Wallace | |||
Set Decoration by | |||
| Linette Forbes Shorr | |||
Costume Design by | |||
| Jami Burrows | |||
Makeup Department | |||
| Barrie Buckner | .... | hair stylist | |
| Christina Criswell | .... | assistant makeup artist | |
| Suzanne Parker Sanders | .... | hair stylist | |
| Suzanne Parker Sanders | .... | key makeup artist | |
Production Management | |||
| Evan Edelist | .... | post-production supervisor | |
| Deborah Moore | .... | executive in charge of production | |
| David Witz | .... | unit production manager | |
Art Department | |||
| Marsha A. Alexander | .... | art department coordinator | |
| Greg Aronowitz | .... | prop designer | |
| Tony Bonaventura | .... | property master | |
| Thomas Cooper | .... | property assistant/special props fabricator | |
| Bryan Corbett | .... | propmaker | |
| Scott Dietz | .... | lead scenic artist | |
| Ron Ervin | .... | carpenter | |
| Philip Madison | .... | set designer | |
| Peter Mitchell | .... | storyboard artist | |
| Tom O'Brien | .... | construction coordinator | |
| Alejandro Patino | .... | construction foreman | |
| Peter Mitchell Rubin | .... | storyboard artist | |
| Robert Somerton | .... | carpenter | |
Sound Department | |||
| Tony Berkeley | .... | adr editor | |
| Brad Blake | .... | supervising sound editor | |
| Harry Cohen | .... | digital sound designer | |
| Marc Fishman | .... | sound effects editor | |
| José Antonio García | .... | sound mixer | |
| Brian Geer | .... | foley mixer | |
| Lewis Goldstein | .... | dialogue editor (as Lou Goldstein) | |
| Ossama Khuluki | .... | foley artist | |
| Jeff Porrello | .... | boom operator | |
| R. Russell Smith | .... | sound re-recording mixer | |
| Ken Teaney | .... | sound re-recording mixer | |
Special Effects by | |||
| Jason Bakutis | .... | puppeteer | |
| Frank Ceglia | .... | special effects | |
| Tom Ceglia | .... | special effects assistant | |
| John Deall | .... | special effects crew | |
| Steve Fink | .... | special effects makeup | |
| Paul Haines | .... | special effects assistant | |
| Jarn Heil | .... | special effects technician | |
| Dean Mercil | .... | special effects technician | |
| Paul Salamoff | .... | special effects makeup | |
| Tom Williamson | .... | animatronics | |
Visual Effects by | |||
| Diana Dru Botsford | .... | visual effects consultant | |
| Amy L. Crandall | .... | visual effects editor | |
| Amy Pawlowski | .... | visual effects editor | |
Stunts | |||
| Dan Bradley | .... | stunt coordinator | |
| Ray Lykins | .... | stunts | |
| Mike H. McGaughy | .... | stunts | |
Camera and Electrical Department | |||
| Richard Aaron | .... | still photographer | |
| Waide R. Allen | .... | key grip | |
| Giles Dunning | .... | still photographer | |
| Dave Footman | .... | best boy grip | |
| Greg Kidd | .... | second assistant camera | |
| James A. Lebovitz | .... | additional camera operator | |
| Gerry O'Malley | .... | first assistant camera | |
| James Lawrence Spencer | .... | director of photography: second unit | |
| James Lawrence Spencer | .... | gaffer | |
| Rick Tiedeman | .... | steadicam operator | |
| David Watson | .... | best boy electric | |
| Kerrec 'K-Man' Williams | .... | gaffer: second unit | |
Costume and Wardrobe Department | |||
| Gabrielle Spanswick | .... | costume supervisor | |
Editorial Department | |||
| Joe Fineman | .... | executive in charge of post-production | |
| Thalia Harithas | .... | post-production coordinator | |
| Pamela Hilse | .... | post-production administrator | |
| Marnie Pope | .... | associate editor | |
| Jim Williams | .... | color timer | |
Music Department | |||
| Fil Brown | .... | music engineer | |
| Dan Raziel | .... | music engineer | |
Transportation Department | |||
| Greg Jacobs | .... | transportation coordinator | |
Other crew | |||
| John Criswell | .... | special makeup effects artist | |
| Elizabeth Ervin | .... | production coordinator | |
| Christy Fiero | .... | assistant accountant (as Christy Susskind) | |
| Diane H. Newman | .... | script supervisor | |
| Scott Ritt | .... | laser effects | |
| Brad Stephens | .... | publicist | |
| Julia Zane | .... | production accountant (as Julia Guild) | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
I think there must exist some unwritten rule in horror which states that, after a certain number of sequels to a successful franchise, there has to be one installment that takes place in outer space Usually the space episodes are unspeakably terrible, though. Remember "Leprechaun in Space"? The retarded "Hellraiser: Bloodline" of which even the director distanced himself? Or Jason "Friday the 13th" Voorhees' little adventure in space entitled "Jason X"? On paper, a "Critters" in space didn't even sound like too much of a bad idea because after all the munching little monsters are originally an extraterrestrial species. That is unfortunately just on paper, as part four is an awfully boring and idiotic sequel that hasn't got anything to do with the joyful 1986 original anymore and it even makes the mediocre "Critters 3" looks like a cinematic masterpiece.
Parts three and four was shot back-to-back, hence the closing sequence of the third and the opening sequence of the fourth are exactly the same. Since I, too, watched both films back to back, that was already a huge waste of time. The intro shows how recurring "hero" Charlie is about to destroy two Krites eggs when all of a sudden he receives a message from his mentor Ug; stating that those eggs are the last remaining of the species and have to be preserved. Charlie has to bring them back to the home planet, but something goes wrong and his capsule gets lost in space. Many years later, the floating ship is discovered by an expedition full of highly unlikely astronauts and naturally those idiots also unfreeze the eggs. There's a very significant moment in "Critters 4", when the spaceship crew explains Charlie where he is and how long he floated around in outer space. The look on his imbecilic face when he realizes that he just wasted 53 years of his life is also exactly how I felt throughout watching the entire movie! What an incredible waste of time. The Critters were apparently not interesting enough anymore to the writers and they actually just have supportive roles here. Instead, the big hero of the first three movies Bounty hunter Ug has become an malignant planetary ruler and the some spaceship crew members as well have bad and perverted intentions. The Critters, most of the time only two of them, simply just roll around a little bit and they don't even fire off anymore poisonous darts. Brad Dourif gives a reliable performance, as always, and Angela Bassett (still in an early phase of her career) shows her naked butt which is a nice detail but there's absolutely no reason to track this dud down.