| Christopher Lambert | ... | Lou | |
| Ice-T | ... | Vincent Moon | |
| Michael Halsey | ... | Marcus | |
| Deborah Van Valkenburgh | ... | Cam | |
| Tina Cote | ... | Barbie (as Tina Coté) | |
| Yuji Okumoto | ... | Hoss | |
| Thom Mathews | ... | Crow | |
| Kimberly Warren | ... | D | |
| Hunter Doughty | ... | Little Lucy (as Hunter Lockwood Doughty) | |
| Jerry Rector | ... | Bob | |
| James Wellington | ... | Ricky | |
| Hoke Howell | ... | Commissioner Guildner | |
| James Mathers | ... | Jerry Montegna | |
| Milan Nicksic | ... | Kobolski | |
| Jahi J.J. Zuri | ... | Blondie | |
| Kimko | ... | Suit | |
| Jim Koehler | ... | Slick | |
| Robert Lennon | ... | Oslo | |
| John Machado | ... | Fatboy | |
| Moss Mossberg | ... | Biker | |
| Jill Pierce | ... | Mambo Woman | |
| rest of cast listed alphabetically: | |||
| Earl White | ... | One Eye (uncredited) | |
Directed by | |||
| Albert Pyun | |||
Writing credits(WGA) | ||
| Andrew Witham | (written by) | |
Original Music by | |||
| Anthony Riparetti | (as Tony Riparetti) | ||
Cinematography by | |||
| George Mooradian | |||
Film Editing by | |||
| Ken Morrisey | |||
Casting by | |||
| Teri Blythe | |||
Costume Design by | |||
| Shelly Boies | |||
Makeup Department | |||
| Wendi Lynn Allison | .... | second hair stylist (as Wendi Allison) | |
| Wendi Lynn Allison | .... | second makeup artist (as Wendi Allison) | |
| Didier Lavergne | .... | hair stylist: C. Lambert | |
| Didier Lavergne | .... | makeup artist: C. Lambert | |
| Ani Plotkin-Maloney | .... | key hair stylist (as Ani Plotkin) | |
| Ani Plotkin-Maloney | .... | key makeup artist (as Ani Plotkin) | |
Production Management | |||
| Tom Karnowski | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Tom Karnowski | .... | first assistant director | |
| Sazzy Lee Calhoun | .... | second assistant director | |
Art Department | |||
| Randall Dudley | .... | assistant props | |
| Jeff Spellerberg | .... | property master | |
| Mike Sudrow | .... | weapons specialist (uncredited) | |
Sound Department | |||
| Mark Allen | .... | sound designer | |
| Gary Boatner | .... | boom operator (as Gary Boatman) | |
| James Clark | .... | boom operator | |
| Rick Delena | .... | post-production sound (as Rick DeLena) | |
| Gonzalo Espinoza | .... | foley recordist (as Bino Espinoza) | |
| Patrick M. Griffith | .... | supervising sound editor | |
| Lisa Hannan | .... | sound effects editor | |
| Lee Howell | .... | production sound mixer | |
| Eric Jaffe | .... | sound effects editor (as Eriq P. Jaffe) | |
| C.J. Jones | .... | sound effects editor | |
| John Kohlbrenner | .... | sound effects editor | |
| Mark Lanza | .... | sound effects editor | |
| Jeff Marr | .... | adr editor | |
| Jeff Marr | .... | dialogue editor | |
| Thomas E. Miller | .... | audio coordinator | |
| Paul N.J. Ottosson | .... | sound effects editor | |
| Gretchen Thoma | .... | foley artist | |
| Debby VanPoucke | .... | sound effects editor (as Debby Van Poucke) | |
| Jim Ridgley | .... | boom operator (uncredited) | |
Special Effects by | |||
| Anthony Allen Barlow | .... | special effects technician: Ice-T (as Allen Barlow) | |
| Guy Faria | .... | special effects | |
Stunts | |||
| Bob Brown | .... | utility stunts | |
| Paul Eliopoulos | .... | stunt coordinator | |
| Dane Farwell | .... | utility stunts | |
| Nancy Thurston | .... | stunt double: Barbie | |
| Garrett Warren | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Scott Burgin | .... | camera loader | |
| Christopher Burke | .... | second assistant camera (as Chris Burke) | |
| Jonathan Chinn | .... | gaffer | |
| Bruce Frye | .... | focus puller | |
| Charles Lenz | .... | best boy grip (as Charlie Lenz) | |
| Bruce D. McDonald | .... | best boy (as Bruce McDonald) | |
| Karen L. Ogle | .... | still photographer (as Karen Ogle) | |
| Daniel Robinson | .... | rigging grip | |
| Alec Shepherd | .... | key grip (as Alec Sheppard) | |
| Matthew Talesfore | .... | best boy | |
| James S. Trois | .... | electrician (uncredited) | |
Costume and Wardrobe Department | |||
| Houston Sams | .... | wardrobe supervisor | |
| Renata Votrubová | .... | wardrobe: C. Lambert (as Renata Votrobová) | |
Editorial Department | |||
| Beth Bergeron | .... | editing intern | |
| Yoshie Ishiguro | .... | assistant editor | |
| Mato | .... | color timer | |
Other crew | |||
| Christopher Ball | .... | production financing: Newmarket Capital (as Chris Ball) | |
| Christopher Bates | .... | production accountant | |
| Teri Blythe | .... | script supervisor | |
| Thomas Brunelle | .... | voice artist | |
| June Christopher | .... | voice artist | |
| Dan Collins | .... | executive production assistant | |
| Marc J. Federman | .... | insurance services: Near North Insurance Brokerage (as Marc Federman) | |
| Eddie Frierson | .... | voice artist | |
| Joshua Furey | .... | set production assistant (as Josh Furey) | |
| Peter Grassl | .... | business manager: Perry & Neihdorf (as H. Peter Grassl) | |
| Raymond Gross | .... | bank counsel (as G. Raymond F. Gross Esq.) | |
| Branko Jehlar | .... | craft service | |
| Branko Jehlar | .... | production assistant | |
| Chris Martinez | .... | craft service | |
| Chris Martinez | .... | production assistant | |
| Michael A. Neidorf | .... | business manager: Perry & Neihdorf | |
| Joyce North | .... | key set production assistant | |
| Rodney Saulsberry | .... | voice artist | |
| Michael Sebel | .... | set medic: Rescues Unlimited | |
| Jeff Spellerberg | .... | production counsel | |
| Arnold F. Turner | .... | voice artist (as Arnold Turner) | |
Thanks | |||
| Manny Anaya | .... | special thanks (as Sergeant Manny Anaya) | |
| Denny Clairmont | .... | special thanks | |
| Terry Clairmont | .... | special thanks | |
| Irving Correo | .... | special thanks | |
| Stephen J. Friedman | .... | dedicated to the memory of (as Stephen Friedman) | |
| Peter Grassl | .... | special thanks (as H. Peter Grassl) | |
| Patrick M. Griffith | .... | special thanks (as Pat Griffith) | |
| Michael A. Neidorf | .... | special thanks | |
| Anthony Riparetti | .... | special thanks (as Tony Riparetti) | |
| Arthur Robinson | .... | special thanks (as Sergeant Arthur Robinson) | |
| Zachary Schmoeller | .... | special thanks | |
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| Machete | The Professional: Golgo 13 | The Tournament | Knight and Day | Captain America: The First Avenger |
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IMDb User Rating: |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
I just finished watching "Mean Guns," and, considering the action-stinkers that have been coming out in the past few months (Domestic Disturbance, The One), I found it to be a breath of fresh air. It uses cliches and violence combined with strong, intelligent characters (scattered in there among very cliched characters) to tell a modern-day parable on the depravity of man and the need for redemption. Very dark, very violent, but it needed to be to make its point on how low human beings can allow themselves to become. I won't go into detail about the plot...that's not what users comments are for. Just read the plot summary. I shall, however, explore the film's philosophy.
The mambo music, which plays in the background as the characters shoot at each other, works to show how lightly society now sees and deals with violence, and in the end, the film points an accussing finger at all the viewers who allowed themselves to be taken in by the "engaging" (intentionally cliched) storyline, and suggesting that in our enjoyment of such a raunchy picture, we place outselves on a level no better than the horrible killer presented here. There is one particular scene in which two men mercilessly slaughter a man, and the soft, classical-guitar piece playing in the background effectively shows how comfortable we have become as viewers to such gruesome displays of violence. Indeed, what we are more focused on here is the fact that the music is beautiful, despite the very bloody acts of violence that we are witnessing. Such audience-manipulation packs a powerful punch.
Only the conclusion drags on...and on....and on..... The need to tie up all loose ends is irrelevant. The point is already made by the time the movie's final scenes begin, but they try to tie them all up in any case. As a result, the ending simply lumbers when it should have, as the rest of the film does, soar.
Still, Lambert and company are great in their roles. Who new director Albert Pyun was capable? Final verdict: A-. Very solid.
***1/2 out of ****