| Madeleine Stowe | ... | Senga Wilson | |
| Norman Reedus | ... | Recovery Man | |
| Bijou Phillips | ... | Backpacker | |
| Mischa Barton | ... | Natasha 'Nat' Wilson | |
| Jonathan Rhys Meyers | ... | The Father | |
| Leo Gregory | ... | Joyrider | |
| Gary Parker | ... | Vacation Man | |
| Amber Batty | ... | Vacation Woman | |
| Jenny Jules | ... | Highway Patrol Sergeant | |
| Patrick O'Kane | ... | Trucker | |
| Martin McDougall | ... | Motivational Speaker | |
| Shauna Shim | ... | Paramedic #1 | |
| David Menkin | ... | Paramedic #2 | |
| Nigel Whitmey | ... | Detective Ned Stephens | |
| Samuel Fröler | ... | Marek Wilson | |
| Stephen Lord | ... | Carjacker | |
| Dean Gregory | ... | Christian Missionary | |
| Sarah Drews | ... | Christine | |
| Raffaello Degruttola | ... | Highway Patrol Cop #1 | |
| Glenn Wrage | ... | Highway Patrol Cop #2 | |
| Monika Hudgins | ... | Southern Woman | |
| Cesar Bayona Pinto | ... | Latino Busboy | |
| Véronique Koch | ... | Cashier #1 (as Veronique Koch) | |
| Ase Dunbar | ... | Cashier #2 | |
| Nicolette Christie | ... | Teenage Girl with Mobile | |
| Rachel Pollack | ... | Metro Girl | |
| Emma Drews | ... | Teenage Girl in Video | |
| Tom Hunsinger | ... | CSI Man | |
| Sam Douglas | ... | Crash Site Detective | |
| rest of cast listed alphabetically: | |||
| Pedro Barreira | ... | Leo James (uncredited) | |
Directed by | |||
| Marcus Adams | |||
Writing credits(in alphabetical order) | ||
| Stephen Volk | written by | |
Produced by | |||
| Bill Allan | .... | executive producer | |
| Bob Bellion | .... | co-producer | |
| Al Burgess | .... | line producer | |
| Jimmy de Brabant | .... | co-producer | |
| Carlo Dusi | .... | executive producer | |
| Keith Evans | .... | executive producer | |
| Alistair MacLean-Clark | .... | producer | |
| Melvyn Singer | .... | executive producer | |
| Tim Smith | .... | executive producer | |
| Basil Stephens | .... | producer | |
Original Music by | |||
| Simon Boswell | (supervising composer) | ||
| Paul Hartnoll | (as Orbital) | ||
| Phil Hartnoll | (as Orbital) | ||
| Orbital | |||
Cinematography by | |||
| Robin Vidgeon | (director of photography) | ||
Film Editing by | |||
| Trevor Waite | |||
Casting by | |||
| Leo Davis | |||
| Elaine Fallon | |||
| John Papsidera | |||
| Tania Polentarutti | |||
Production Design by | |||
| Max Gottlieb | |||
Art Direction by | |||
| Teresa Weston | |||
Set Decoration by | |||
| Anna Lynch-Robinson | |||
Costume Design by | |||
| Stewart Meachem | |||
Makeup Department | |||
| Aurélie Elich | .... | assistant makeup artist | |
| Sarah Love | .... | chief of hair | |
| Trefor Proud | .... | chief makeup artist | |
| Evelyne Sittig | .... | assistant hair stylist | |
Production Management | |||
| Bénédicte Humbel | .... | production manager | |
Art Department | |||
| Alfie Burgess | .... | stand-by props | |
| François Dickes | .... | props buyer | |
| Billy Edwards | .... | stand-by props | |
| Thomas Ferrandis | .... | carpenter | |
| Ricardo Galvao | .... | art department assistant | |
| John Greaves | .... | storyboard artist | |
| Graham Mitchell | .... | carpenter | |
| Eddie Murphy | .... | carpenter | |
| Edouard Pallardy | .... | head painter | |
| Olivier Wojcik | .... | scenic painter | |
| Eddie Wolstencroft | .... | stand by painter | |
| Terry Woods | .... | property master | |
Sound Department | |||
| Howard Bargroff | .... | sound re-recording mixer | |
| Keith Batten | .... | boom operator | |
| Gianluca Buttari | .... | foley editor | |
| Alistair Crocker | .... | sound recordist | |
| Colette Dahanne | .... | adr mixer | |
| Simon Gershon | .... | supervising sound editor | |
| Alex Hudd | .... | sound consultant: dolby | |
| Dan Johnson | .... | assistant sound re-recording mixer | |
| Ben Meechan | .... | sound effects editor | |
| Bernard O'Reilly | .... | sound effects editor | |
| James Perry | .... | assistant sound effects editor | |
| Joakim Sundström | .... | dialogue editor | |
Special Effects by | |||
| Alain Couty | .... | special effects coordinator | |
| Lawrence Michael | .... | special effects technician | |
Visual Effects by | |||
| Henry Badgett | .... | digital compositor: MPC | |
| Martin Cook | .... | title design | |
| Mark Curtis | .... | digital compositor | |
| Stefan Drury | .... | visual effects producer | |
| Rob Hill | .... | digital camera operator | |
| Douglas Larmour | .... | supervising compositor | |
| Stuart Lashley | .... | digital compositor | |
| Charlotte Loughnane | .... | visual effects coordinator | |
| Jessica Norman | .... | supervising compositor | |
| Gregory Salter | .... | supervising compositor | |
| Sally Spencer | .... | visual effects coordinator | |
| Ben Thompson | .... | 3D animator: MPC | |
| John Van Hoey Smith | .... | data operator | |
Stunts | |||
| Michel Bouis | .... | stunts | |
| Sarah Franzl | .... | stunt driver | |
| Alain Gaudiard | .... | stunt rigger | |
| Véronique Koch | .... | stunt driver | |
| Alexandrine Roux | .... | stunts | |
| Loïc Saintilan | .... | stunts | |
| Paul Weston | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Alex Aach | .... | clapper loader | |
| Alex Bailey | .... | still photographer | |
| Pierre Dermience | .... | best boy | |
| Pierre Dermience | .... | electrician | |
| Kevin Dresse | .... | electrician | |
| Johnny Feurer | .... | assistant camera | |
| Mike Frift | .... | camera operator | |
| Rab Harling | .... | clapper loader: second unit | |
| Paul Hatchman | .... | key grip | |
| Mark Hryma | .... | camera operator: Wescam camera | |
| Clyde Miller | .... | assistant camera: Wescam camera | |
| Simon Mills | .... | focus puller: second unit | |
| José Alberto Pinto de Jesus | .... | electrician | |
| Mike Roberts | .... | video assist operator | |
| Luis Santos | .... | electrician | |
| Uli Schmidt | .... | assistant camera | |
| Théodore Theodorides | .... | additional clapper loader | |
| Théodore Theodorides | .... | assistant camera | |
| Roger Tooley | .... | Steadicam operator | |
| Wolfgang Wesemann | .... | assistant camera | |
| Michael 'Indy' Whiting | .... | assistant camera | |
| Peter Wignall | .... | camera operator | |
Costume and Wardrobe Department | |||
| Magdalena Marczynska | .... | wardrobe assistant | |
| Mike Skorepa | .... | costume supervisor | |
Editorial Department | |||
| Nicola Armstrong | .... | post-production coordinator | |
| Martin Corbett | .... | first assistant editor | |
| Gina Tornatore | .... | second assistant editor | |
Music Department | |||
| Simon Boswell | .... | soundtrack producer | |
| Geoff Foster | .... | score recordist | |
| Allan Jenkins | .... | music editor | |
Transportation Department | |||
| Svet Hrouchoff | .... | action vehicles | |
| Gaby Meyers | .... | facility/truck driver | |
| Igor Pecirep | .... | driver: Madeleine Stowe | |
| Olivier Printz | .... | car wrangler | |
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| Freeway | Go | Across the Universe | Bad Timing: A Sensual Obsession | Stay |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb UK section |
The involvement of Johnathan Rhys-Meyers and Madeline Stowe made me interested in seeing Pulse/Octane. For the first part of the movie I was rewarded with cool photography, a nightmarish tone and the increasingly complex portrayal of a messed up mother-daughter dynamic. I began to get excited about what was to come as I was reminded of great classics like The Hunger, Aliens or Near Dark. Unfortunately, this potential never came to fruition.
What begins as an examination of a mother's will to protect her petulant daughter from herself soon decays into just another "B" horror movie full of clichés and buffoonish action. Shifting the perspective from Stow's character to the daughter's (Micha Barton) removes all weight and tension from the story since Barton's character is as fluffy and foolish as any MTV V-Jay. Why should we root for the mother when the heroin-chic daughter would so obviously be more happy partying with Bijou Phillips' vacuous hitchhiker?
Jonathan Rhys Meyers uses his trademark sensuality to good effect here, but his character, "The Father," is given such short-shrift that he never becomes more than a caricature. Still, if he is some kind of symbol for wanton lasciviousness, it looks so good on him one roots for Barton to accept his advances and ditch her mother's increasingly silly attempts to save her.
Movies like this are really irritating because of what they could have been with a bit more vision on the part of the writer and director. I'm sure Stowe and Rhys-Meyers saw the potential in the script and were then disappointed. For me, Pulse/Octane is one that got away...