| Penelope Allen | ... | Helen (as Penny Allen) | |
| Erick Avari | ... | Alex | |
| Alimi Ballard | ... | Derrick (as Alimi Ballard) | |
| Joey Bilow | ... | Denis | |
| Bruce Bohne | ... | Cranston | |
| Robert Casserly | ... | Ray | |
| Laurie Coleman | ... | Reporter | |
| Chuck Cooper | ... | Jim | |
| Blythe Danner | ... | Woman In Cab | |
| Peter Falk | ... | Waldo | |
| Mark Feuerstein | ... | Car Buyer | |
| Heather Kafka | ... | Lisa | |
| Peter Kalos | ... | Ghost | |
| Christine Karl | ... | Liza | |
| Merle Kennedy | ... | Tess | |
| Claire Kirk | ... | Margaret | |
| George Kuchar | ... | Vendor | |
| Lyle Lovett | ... | Disc Jockey | |
| John Carroll Lynch | ... | Dinner Guest | |
| Don Meredith | ... | John Horton | |
| Wayne Rogers | ... | Business Man | |
| Michael Santoro | ... | Thunder | |
| Peter Henry Schroeder | ... | Amon | |
| Bill Stockton | ... | Michael | |
| Maggie Walker | ... | Jen (as Maggi Walker) | |
| rest of cast listed alphabetically: | |||
| Robert Carradine | ... | Bus Driver (uncredited) | |
| Keir Dullea | ... | (uncredited) | |
| Jordan Elliott | ... | Young Tess (uncredited) | |
| Jason Patric | ... | (uncredited) | |
| Max Perlich | ... | (uncredited) | |
Directed by | |||
| Michael Meredith | |||
Writing credits | ||
| Michael Meredith | (written by) | |
Original Music by | |||
| Bob Belden | |||
Cinematography by | |||
| Cynthia Pusheck | |||
Film Editing by | |||
| Sabine Hoffmann | |||
Art Direction by | |||
| Scott Wittmer | |||
Production Management | |||
| Jason Michaels | .... | unit supervisor | |
Second Unit Director or Assistant Director | |||
| Jeremy C. Colfer | .... | second second assistant director | |
| Brian Hughes | .... | second assistant director | |
Art Department | |||
| D.W. Kann | .... | set dresser (as David Kann) | |
Sound Department | |||
| Travis Call | .... | post-production sound recordist | |
| David Ellinwood | .... | supervising sound editor | |
| Alicia Francis | .... | boom operator | |
| Lawrence Fried | .... | sound mixer | |
| Doug Roberts | .... | sound effects editor | |
| Jon S. Trebilcock | .... | additional sound | |
| Tony Volante | .... | sound re-recording mixer | |
Camera and Electrical Department | |||
| James L. Conway | .... | best boy grip | |
| Timothy P. Reilly | .... | electrician | |
Editorial Department | |||
| Aaron E. Stanford | .... | assistant editor | |
Music Department | |||
| Evan Benjamin | .... | music editor | |
Other crew | |||
| Arthur Dix | .... | script supervisor | |
| Ann Forshan | .... | publicist | |
| Jonathan Gray | .... | production counsel | |
| Jessica Jordan | .... | script supervisor | |
| Ryan Shaffer | .... | production assistant | |
| Aaron Wachholz | .... | production assistant | |
| Wim Wenders | .... | presenter | |
| Heather Wood | .... | script supervisor | |
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| Bright Young Things | Before the Devil Knows You're Dead | Intermission | Kings & Queen | Love Actually |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
First, this is NOT a film of the Richard Greenberg play that Julia Roberts tanked in on Broadway; that is due in 2008. This film attempts to adapt six Anton Chekhov short stories into 72 hours in rain-soaked Cleveland. To say that it, too, tanks - would be an understatement. The joy of re-interpreting the great Russian author's smaller works must have pleased writer/director Michael Meredith more than it does the viewer. The six stories never intersect as one might expect, depriving the viewer of some sense of a dramatic fabric. If, perhaps, they had been played in a linear fashion, one following the other instead of inter-cut, the limited nature of their sad stories might have been a bit more satisfying. Or had Meredith let the viewer know that these were unconnected stand-alone stories based on existing stories, expectations for more might have been tempered. But as it is, six stories are just too many. Adding to the soggy woe, the majority of the simple tales are weighed down by lonely and unlikeable characters, the obvious and dreary 'umbrella' theme of a three day rainstorm, and some highly uneven playing by the actors. Limited to short-story characters, most of them strive in vain to create even the most basic character arc. THREE DAYS OF RAIN will inevitable be compared to CRASH (it pales) and - all too soon - Richard Greenberg's far more intriguing narrative.