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Directed by | |||
| Brian De Palma | |||
Writing credits(WGA) | ||
| Bruce Geller | (television series) | |
| David Koepp | (story) and | |
| Steven Zaillian | (story) | |
| David Koepp | (screenplay) and | |
| Robert Towne | (screenplay) | |
Produced by | |||
| J.C. Calciano | .... | associate producer | |
| Tom Cruise | .... | producer | |
| Paul Hitchcock | .... | executive producer | |
| Paula Wagner | .... | producer | |
Original Music by | |||
| Danny Elfman | |||
Cinematography by | |||
| Stephen H. Burum | (director of photography) | ||
Film Editing by | |||
| Paul Hirsch | |||
Production Design by | |||
| Norman Reynolds | |||
Art Direction by | |||
| Fred Hole | (supervising art director) (as Frederick Hole) | ||
| Jonathan McKinstry | (uncredited) | ||
Set Decoration by | |||
| Peter Howitt | |||
Costume Design by | |||
| Penny Rose | |||
Makeup Department | |||
| Rob Bottin | .... | special makeup effects | |
| Lois Burwell | .... | chief makeup designer | |
| Dave Elsey | .... | special makeup effects artist | |
| Jirí Farkas | .... | makeup artist | |
| Jim Feldman | .... | conceptual artist | |
| Eithne Fennel | .... | chief hair stylist | |
| Richard Glass | .... | contact lens optician | |
| Amanda Knight | .... | key makeup artist | |
| Seth Lombardi | .... | assistant hair stylist | |
| Margaret Prentice | .... | prosthetic makeup artist: Mr. Cruise (senator disquise ) | |
| Lynn Rodgers | .... | hair stylist | |
| Jemma Scott-Knox-Gore | .... | contact lens technician | |
| Lisa Tomblin | .... | hair stylist | |
| Colin Ware | .... | special makeup effects artist | |
| Thomas Floutz | .... | special makeup effects artist (uncredited) | |
Production Management | |||
| Christine Bodelot | .... | production manager | |
| Kevin De La Noy | .... | unit production manager: second unit | |
| Steve Harding | .... | unit production manager (as Steven Harding) | |
| Ruth Hasty | .... | post-production supervisor | |
| Michal Prikryl | .... | unit manager: Prague | |
| Guy Tannahill | .... | production manager | |
Art Department | |||
| Tony Allard | .... | propmaker | |
| Edward Ambrose | .... | senior draughtsperson | |
| Tony Chance | .... | illustrator (as Anthony Chance) | |
| Peter Childs | .... | chief draughtsperson | |
| John Chisholm | .... | prop man | |
| Belinda Edwards | .... | production buyer | |
| Jim Feldman | .... | conceptual artist | |
| Kate Garbett | .... | art department coordinator | |
| Tracey Holmes | .... | junior draughtsperson | |
| Robert Jackson | .... | carpenter | |
| Dick Lasley | .... | conceptual artist | |
| David Lee | .... | assistant art director | |
| Thomas Martin | .... | supervising carpenter | |
| Pavel Nový | .... | construction manager | |
| Chris Sibley-Hale | .... | carpenter | |
| Tom Southwell | .... | conceptual artist | |
| Simon Staines | .... | computer graphics designer | |
| Krissi Williamson | .... | assistant buyer | |
| Mickey Woolfson | .... | chargehand stand-by | |
| Jan Zeman | .... | assistant art director | |
| Colin Thurston | .... | dressing prop (uncredited) | |
Special Effects by | |||
| Eric Allard | .... | special effects supervisor: All Effects Company | |
| David Beavis | .... | special effects supervisor | |
| Robbie Clot | .... | mechanical effects technician | |
| Gary Cohen | .... | special effects technician | |
| Terence J. Cox | .... | special effects senior technician | |
| Raul Essig | .... | matchmove artist | |
| Fernando Favila | .... | special effects producer: Rob Bottin Studio | |
| Jim Feldman | .... | conceptual artist | |
| Gustavo R. Ferreyra | .... | specialty props: London | |
| Jules Findley | .... | special effects compositor | |
| Terry Glass | .... | special effects technician | |
| Moto Hata | .... | sculptor: Rob Bottin Studio (as Motoyoshi Hata) | |
| Kevin Herd | .... | senior technician | |
| Douglas D. Kelley | .... | special effects coordinator: All Effects Company (as Douglas Kelley) | |
| Roger Nichols | .... | senior technician | |
| Lyn Nicholson | .... | special effects coordinator | |
| Nigel Nixon | .... | computer video playback buyer | |
| Art Pimentel | .... | model/moldmaker: Rob Bottin Studio | |
| Dave Roddham | .... | special effects trainee | |
| Christopher S. Ross | .... | special effects prop designer: All Effects Company (as Chris Ross) | |
| Andrew Ryan | .... | effects trainee | |
| Robert Schofield | .... | wire effects supervisor | |
| Dawn M. Severdia | .... | special effects makeup coordinator: Rob Bottin Studio (as Dawn Severdia) | |
| Roman Tudjarov | .... | special effects technician | |
| Jirí Vater | .... | special effects technician | |
| David Watson Jr. | .... | special effects assistant | |
| Andy Weder | .... | lead machinist: action props | |
| Harold Weed | .... | model maker | |
| John Weller | .... | special effects rigger | |
| Gareth Wingrove | .... | special effects trainee | |
| Ian Wingrove | .... | special effects supervisor | |
| Trevor Wood | .... | special effects senior technician workshop | |
| Edward J. Franklin | .... | prop shop (uncredited) | |
| Josselin Mahot | .... | creature effects crew (uncredited) | |
| Cliff Wallace | .... | special effects makeup (uncredited) | |
Visual Effects by | |||
| Matthew Alexander | .... | computer and video technician (as Matthew Kok) | |
| Alexandra Altrocchi | .... | visual effects coordinator: ILM | |
| Karen Ansel | .... | technical director: ILM | |
| Al Bailey | .... | digital plate restoration | |
| Jeffrey Benedict | .... | digital effects artist | |
| Stephane Bidault | .... | digital compositor: cinesite europe | |
| Stella Bogh | .... | digital compositor | |
| Stella Bogh | .... | visual effects designer: Computer Film Company | |
| Scott Bonnenfant | .... | digital plate restoration | |
| Marc Chu | .... | digital effects artist | |
| Michael Conte | .... | digital effects artist: ILM (as Mike Conte) | |
| Michael Corcoran | .... | CG resource assistant | |
| James Doherty | .... | digital modeler: ILM | |
| Loring Doyle | .... | digital rotoscope and paint: ILM | |
| David Dozoretz | .... | digital animatic artist: ILM | |
| David Dozoretz | .... | pre-visualization artist | |
| David S. Dranitzke | .... | miniature unit coordinator (as David Dranitzke) | |
| Sheena Duggal | .... | flame artist: ILM | |
| Sheena Duggal | .... | lead Inferno artist: ILM | |
| Paddy Eason | .... | lead digital compositor: CFC | |
| Paddy Eason | .... | visual effects designer: Computer Film Company | |
| Selwyn Eddy | .... | digital match mover: ILM | |
| Andrew Eio | .... | computer/visual effects supervisor | |
| Jon Foreman | .... | model mechanical designer | |
| Scott Frankel | .... | digital compositor | |
| Steve Gawley | .... | supervising model maker | |
| Dan Glass | .... | visual effects designer: Computer Film Company | |
| Michael Gleason | .... | visual effects editor | |
| Dan B. Goldman | .... | digital effects artist | |
| John Goodson | .... | model maker | |
| Pete Hanson | .... | studio manager: CFC | |
| John Hardwick | .... | digital compositor: Cinesite Europe | |
| Ed Hawkins | .... | digital compositor: Cinesite Europe | |
| Aaron Haye | .... | modelmaker: ILM | |
| Robert Hill | .... | visual effects camera assistant | |
| Samir Hoon | .... | technical director | |
| George Hull | .... | visual effects art director | |
| Paul Huston | .... | digital matte artist: ILM | |
| Tom L. Hutchinson | .... | computer graphics supervisor: ILM (as Thomas L. Hutchinson) | |
| Mathew C. Judd | .... | 3D modeler | |
| Matt Kasmir | .... | digital effects artist | |
| Susan Kelly-Andrews | .... | digital rotoscope and paint: ILM | |
| Greg Killmaster | .... | technical director | |
| Drew Klausner | .... | digital rotoscope and paint: ILM | |
| John Knoll | .... | visual effects supervisor | |
| Marshall Richard Krasser | .... | digital compositor: ILM | |
| Stefan Lange | .... | Visual effects cameraman | |
| Sharon Lark | .... | digital effects producer: Cinesite Europe | |
| Angela Leaper | .... | digital effects editor | |
| Joe Letteri | .... | associate visual effects supervisor | |
| Kim Libreri | .... | digital effects supervisor | |
| Jodie Maier | .... | digital match mover: ILM | |
| Kim Marks | .... | visual effects director of photography: London bluescreen photography unit | |
| Tom Martinek | .... | digital effects artist/animator: ILM | |
| Stuart T. Maschwitz | .... | digital effects artist (as Stu Maschwitz) | |
| Roni McKinley | .... | visual effects producer: ILM | |
| Scott McNamara | .... | model mechanical designer (as Scott McNamera) | |
| Dennis Michelson | .... | visual effects producer: CFC | |
| Richard Miller | .... | sculptor/modeler | |
| Terry Molatore | .... | digital rotoscope and paint: ILM | |
| Mark Moore | .... | concept artist | |
| Jim Morris | .... | senior staff: ILM | |
| George Murphy | .... | computer graphics supervisor: ILM | |
| Patrick T. Myers | .... | senior digital effects artist: ILM | |
| Mark Nettleton | .... | senior compositor: Cinesite Europe | |
| Ken Nielsen | .... | digital effects artist (as Kenneth Nielsen) | |
| Alison O'Brien | .... | visual effects producer: CFC | |
| Michael Olague | .... | visual effects gaffer | |
| Chris Panton | .... | visual effects designer: Computer Film Company | |
| Eddie Pasquarello | .... | digital compositor | |
| Kevin Phelan | .... | scanning and recording producer: CFC | |
| Cary Phillips | .... | CG staff | |
| Joshua Pines | .... | scanning & film recording supervisor: ILM | |
| Jonathan Privett | .... | digital compositor: Cinesite Europe | |
| Eve Ramboz | .... | visual effects | |
| Cordy Rierson | .... | digital effects | |
| Fedele Rinaldi | .... | compositor | |
| Barnaby Robson | .... | digital compositor | |
| Martin Rosenberg | .... | visual effects director of photography: helicopter crash sequence photography unit | |
| Susan Ross | .... | viewpainter | |
| Thomas Rosseter | .... | digital compositor | |
| Kim Smith | .... | model maker | |
| Simon Staines | .... | computer graphics designer | |
| Andy Stevens | .... | visual effects camera assistant: Magic Camera Co | |
| Eben Stromquist | .... | model mechanical designer | |
| Ole Dieter Sturm | .... | senior computer graphic artist | |
| Frank W. Tarantino | .... | special effects technician: ILM | |
| Ginger Theisen | .... | visual effects coordinator: ILM | |
| Paul Theren | .... | digital modeler | |
| Christopher Townsend | .... | digital effects artist | |
| Bruce Vecchitto | .... | digital timing supervisor: ILM | |
| Danny Wagner | .... | model maker: ILM | |
| Erika Wangberg Burton | .... | plate coordinator: bluescreen photography unit, London (as Erika Wangberg) | |
| Jeff Wells | .... | digital effects artist: Pacific Title Digital | |
| Tim Wellspring | .... | visual effects assistant: CFC | |
| Andy White | .... | senior digital effects artist: ILM | |
| Russ Woolnough | .... | visual effects editor | |
| Richard Yuricich | .... | visual effects supervisor | |
| Ken Dailey | .... | visual effects coordinator: Cinesite (uncredited) | |
| Guy Hudson | .... | matchmover (uncredited) | |
| Alex Jaeger | .... | model maker: ILM (uncredited) | |
| Matt Johnson | .... | digital compositor (uncredited) | |
| Russell Koonce | .... | digital effects artist (uncredited) | |
| Karl Nettmann | .... | pyrotechnician: titles (uncredited) | |
| Joe Pavlo | .... | digital artist (uncredited) | |
| Stephen Sobisky | .... | project manager: Viewpoint Datalabs (uncredited) | |
| Charles Tait | .... | data operator (uncredited) | |
| Chad Taylor | .... | Sabre artist: ILM (uncredited) | |
| Doug Tubach | .... | digital compositor (uncredited) | |
| Kevin Willmering | .... | digital rotoscope and paint supervisor: ILM (uncredited) | |
Stunts | |||
| Keith Campbell | .... | stunts | |
| Graeme Crowther | .... | stunts | |
| Ray De-Haan | .... | stunts | |
| Tracey Eddon | .... | stunts | |
| Jamie Edgell | .... | stunts | |
| Dean Forster | .... | stunts (as Dean Foster) | |
| Sarah Franzl | .... | stunts | |
| Paul Jennings | .... | stunts | |
| Vincent Keane | .... | stunts | |
| Tom Lucy | .... | stunts | |
| Lee Millham | .... | utility stunts | |
| Chrissy Monk | .... | stunts | |
| Gerard Naprous | .... | stunts | |
| Dinny Powell | .... | stunts | |
| Gary Powell | .... | stunts | |
| Greg Powell | .... | stunt coordinator | |
| Lee Sheward | .... | stunts | |
| Keith Campbell | .... | stunt double: Tom Cruise (uncredited) | |
| Sarah Franzl | .... | stunt double: Kristin Scott Thomas (uncredited) | |
| Greg Powell | .... | stunts (uncredited) | |
Casting Department | |||
| Mali Finn | .... | casting: USA | |
| Patsy Pollock | .... | casting: UK | |
| Emily Schweber | .... | casting associate | |
Costume and Wardrobe Department | |||
| Jill Avery | .... | costumer: women | |
| Ken Crouch | .... | wardrobe supervisor (as Kenny Crouch) | |
| Bela Friedlová | .... | wardrobe | |
| Kirsten Hecktermann | .... | assistant costume designer | |
| Verity Jackson | .... | wardrobe assistant | |
| Hana Kucerova | .... | costume supervisor | |
| Marcus Love-McGuirk | .... | wardrobe daily | |
| Adrian Simmons | .... | costumer: men | |
| Nancy Thompson | .... | costumer: Mr Cruise | |
| Sarka Zvolenska | .... | set costumer | |
Editorial Department | |||
| Gordon Antell | .... | assistant film editor | |
| Simon Cozens | .... | assistant editor | |
| Paul Elman | .... | assistant editor | |
| Mike Jackson | .... | assistant editor | |
| Dennis McNeill | .... | color timer (as Denny McNeill) | |
| Nick Moore | .... | first assistant editor | |
| Theresa Repola Mohammed | .... | negative cutter | |
Music Department | |||
| Steve Bartek | .... | orchestrator | |
| Bob Bornstein | .... | music preparation | |
| George Doering | .... | musician | |
| Artie Kane | .... | conductor | |
| Kenneth Karman | .... | additional music editor | |
| Mark McKenzie | .... | orchestrator | |
| Shawn Murphy | .... | score recordist | |
| Maria Newman | .... | musician | |
| Bryan Pezzone | .... | musician: piano | |
| Lalo Schifrin | .... | composer: theme music | |
| Ellen Segal | .... | music editor | |
| Edgardo Simone | .... | orchestrator (as Edgardo Fimone) | |
| Steven Scott Smalley | .... | orchestrator | |
| Sharon Smith | .... | second music editor: temp music | |
| Jacqueline Tager | .... | assistant music editor | |
| Patti Zimmitti | .... | music contractor | |
Transportation Department | |||
| Mark Davies | .... | unit driver | |
| Zdenek Flídr | .... | transportation coordinator | |
| Václav Kocman | .... | driver | |
| Gerry Turner | .... | driver | |
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| The A-Team | Mission: Impossible III | Inception | The Professional: Golgo 13 | G.I. Joe: The Rise of Cobra |
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Every now and again, you will come upon a film that you know really isn't the best movie in the world, or even a particularly good movie on its own. And yet, despite its glaring flaws and imperfectness and lack of completion, you do find yourself strangely attached to it because it has a charm to itself that keeps you interested. Call it a guilty pleasure.
Mission: Impossible is my guilty pleasure. It's based on a 1960s television series created by Bruce Geller and the movie with Tom Cruise is kind of like a mash-up between The Bourne Identity and the James Bond pictures. Basically, the standard spy movie. Tom Cruise plays a spy who is falsely accused of betrayal to his organization and finds himself working with some unlikely partners to track down the real mole in the system and expose him and clear his name. Now, this is a plot as old as the hills and Mission: Impossible works with it just as well as the others. Not enormously well, but on an acceptable level.
Tom Cruise is great as the film's action hero lead, unfortunately his supporting cast is quite uninteresting. Another defect worth noting is the film's convoluted plot, which sometimes is hard to follow. This is caused by a screenplay in need of revisions. That's one of the film's major weaknesses and really the reason why it's just a standard spy movie with lots of cool gadgets instead of something special.
But that's really my only significant complaint about Mission: Impossible. Those rather small, unimportant defects left aside, and leaving the movie to its own devices, it works out well especially in its action sequences. Again, it's all been done before, sometimes better sometimes worse, but that doesn't meant it's boring or overdrawn. In fact, sometimes it's very primal. There is one scene in particular that I found intense and suspenseful on a hair-raising level. The scene goes on for an unremittingly long time, keeping us on the edges of our seats, and the best thing of all is that it's silent. The filmmakers could have chosen to go along with some dark, heavy music or some ominous heartbeat sound effects to put us in the same shoes with the characters, but the fact that it's quiettoo quiet for our likingmakes it so much more compelling. I only wish the rest of the movie was like this scene. Then it really would have been special.
Nevertheless, De Palma's Mission: Impossible works out well for what it is and unless you're not a fan of the standard spy movies or action pictures in particular, of if you have your standards and hopes up too high, I imagine you will enjoy it. Again, it is kind of a guilty pleasure, but hey, it was a lot of fun.