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| Tue. July 28 | 10:00 PM | USA | |||
| Wed. July 29 | 2:00 AM | USA |
Directed by | |||
| Peter Segal | |||
Writing credits(WGA) | ||
| George Wing | (written by) | |
Produced by | |||
| Scott Bankston | .... | co-producer | |
| Michael Ewing | .... | executive producer | |
| Jack Giarraputo | .... | producer | |
| Steve Golin | .... | producer | |
| Kevin Grady | .... | associate producer | |
| Nancy Juvonen | .... | producer | |
| Larry Kennar | .... | co-producer | |
| Daniel Lupi | .... | executive producer | |
| Jay Roach | .... | executive producer | |
Original Music by | |||
| Teddy Castellucci | |||
Cinematography by | |||
| Jack N. Green | |||
Film Editing by | |||
| Jeff Gourson | |||
Casting by | |||
| Elizabeth Boykewich | |||
| Roger Mussenden | |||
Production Design by | |||
| Alan Au | |||
Art Direction by | |||
| Domenic Silvestri | |||
Set Decoration by | |||
| Robert Greenfield | |||
Costume Design by | |||
| Ellen Lutter | |||
Makeup Department | |||
| Chantal Boom'la | .... | hair stylist | |
| Corrina Duran | .... | makeup artist | |
| Robin Fredriksz | .... | makeup artist: Ms. Barrymore | |
| Pauletta O. Lewis | .... | key hair stylist (as Pauletta O. Lewis-Irwin) | |
| Rose Librizzi | .... | department head makeup | |
| Ann Pala | .... | makeup artist: Mr. Sandler | |
| Laine Rykes | .... | makeup artist (as Laine Kealoha-Rykes) | |
| Carme Tenuta | .... | key makeup artist | |
| Nancy Tong | .... | hair department head (as Nanxy Tong-Heater) | |
| Lona Vigi | .... | hair stylist: Ms. Barrymore | |
Production Management | |||
| Daniel Lupi | .... | unit production manager | |
| Will Weiske | .... | production supervisor (as William W. Weiske III) | |
| Lila Yacoub | .... | production supervisor: Hawaii | |
Second Unit Director or Assistant Director | |||
| James D. Bissell | .... | second unit director | |
| Adam Druxman | .... | first assistant director: second unit | |
| Timothy Grant Engle | .... | second second assistant director | |
| John Hockridge | .... | first assistant director (as John E. Hockridge) | |
| Joseph J. Kontra | .... | second assistant director (as Joseph John Kontra) | |
| Michael Phillips | .... | second assistant director: second unit | |
| Matthew D. Smith | .... | additional second assistant director | |
| Ruby Stillwater | .... | additional second assistant director | |
Sound Department | |||
| David Bach | .... | adr supervisor | |
| Bill W. Benton | .... | supervising sound mixer | |
| Daniel Brock | .... | utility sound | |
| Howard Carle | .... | adr mixer | |
| Russell Farmarco | .... | adr editor | |
| Russell Farmarco | .... | dialogue editor | |
| Marc Glassman | .... | foley editor | |
| Vincent Guisetti | .... | foley artist | |
| Jeffrey J. Haboush | .... | supervising sound mixer | |
| Robert Jackson | .... | dialogue editor (as Robert C. Jackson) | |
| Robert Jackson | .... | boom operator | |
| Drake Jenevein | .... | assistant sound editor | |
| Orada Jusatayanond | .... | sound effects editor | |
| Pamela Kahn | .... | foley artist (as Pamela Nedd Kahn) | |
| David Kelson | .... | production sound mixer | |
| Sean Landeros | .... | sound recordist | |
| Howard London | .... | adr recordist | |
| Kyle Rochlin | .... | foley mixer | |
| Cameron Steenhagen | .... | sound effects editor | |
| Derek Vanderhorst | .... | sound effects supervisor | |
| Clayton Weber | .... | foley editor (as Clay Weber) | |
| Elmo Weber | .... | supervising sound editor | |
Special Effects by | |||
| John C. Hartigan | .... | special effects director | |
| Roger Kelton | .... | special effects technician | |
| Ron Rosegard | .... | special effects technician | |
| Chris Walkowiak | .... | special effects foreman | |
Visual Effects by | |||
| Victoria Alonso | .... | visual effects producer | |
| Leslie Baker | .... | senior technical director | |
| Scott Berri | .... | production assistant: Imageworks | |
| David Bleich | .... | digital matte artist | |
| Rob Blue | .... | digital artist: SPI | |
| Francois Bordez | .... | senior modeler | |
| Christian Boudman | .... | digital compositor | |
| Max Bruce | .... | digital artist | |
| Michael Condro | .... | matchmover | |
| Nicolle Cornute | .... | paint & roto lead | |
| Lisa Deaner | .... | digital effects artist | |
| Debbie Denise | .... | visual effects producer | |
| Sheena Duggal | .... | visual effects supervisor | |
| Fish Essenfeld | .... | senior compositor | |
| Steven Fagerquist | .... | visual effects | |
| Joshua Geisler-Amhowitz | .... | digital matte painter | |
| Brian Hanable | .... | digital effects compositor: SPI | |
| Leah Hardstark | .... | visual effects research | |
| Thomas Hollier | .... | computer graphics supervisor | |
| Erica Hornung | .... | digital effects artist | |
| Ivo Horvat | .... | lead matte painter: SPI | |
| Dartayous Hunter | .... | roto/paint: SPI | |
| David James | .... | visual effects plate producer | |
| Bonnie Kanner | .... | visual effects executive producer: Pixel Magic | |
| David Keslick | .... | scanning technician | |
| Sevendalino Khay | .... | senior digital artist | |
| Stephen Kowalski | .... | systems architect | |
| Richard Kratt | .... | digital compositor | |
| Mark Krentz | .... | modeler | |
| Lea Lambert | .... | rotoscope artist | |
| Paul McGhee | .... | digital color timer: SPI | |
| Todd Mesher | .... | visual effects compositor | |
| Christopher Nibley | .... | visual effects director of photography | |
| Rachel Nicoll | .... | match move artist | |
| Robert Davis Oh | .... | film recording technician | |
| Andrea Lackey Pace | .... | senior production services technician | |
| Reid Paul | .... | senior digital effects supervisor | |
| Steve Rhee | .... | visual effects editor: SPI | |
| Brad Simonsen | .... | digital production manager | |
| Brian Smallwood | .... | digital effects artist | |
| Eddie Soria | .... | visual effects coordinator | |
| Geordie Spradling | .... | digital artist | |
| Chikako Terashita | .... | senior production services technician | |
| Vincent Truitner | .... | visual effects computer animator | |
| Jeff Varga | .... | digital effects artist | |
| Barry Weiss | .... | senior staff: SPI | |
| Ned Wilson | .... | lead production services technician (as Nathaniel Livingston Wilson) | |
| Danielle Conroy | .... | director of digital production: SPI (uncredited) | |
| Ed Kashiba | .... | visual effects plate coordinator (uncredited) | |
| Chris Logan | .... | matchmove artist: SPI (uncredited) | |
| Mitch Zeitlin | .... | video editorial coordinator: SPI (uncredited) | |
Stunts | |||
| Michael Adams | .... | stunts | |
| Brycen Counts | .... | stunt double | |
| Paul Eliopoulos | .... | stunt double: Adam Sandler | |
| Gary Guercio | .... | stunt double: Rob Schneider | |
| Adam Pinkstaff | .... | stunt driver: Hawaii | |
| Webster Whinery | .... | stunt coordinator | |
Casting Department | |||
| Kendra Carter | .... | casting assistant | |
| Brad Kenny | .... | extras casting | |
| Mele K.T. Locey | .... | extras casting assistant: Hawaii | |
Costume and Wardrobe Department | |||
| Leslie Brown | .... | costumer: Mr. Sandler | |
| Anthony Franco | .... | costumer | |
| Laurel Frushour | .... | set costumer | |
| Clare Hallworth | .... | assistant costume designer: Ms. Barrymore | |
| Nina Hallworth | .... | assistant costume designer: Ms. Barrymore | |
| Mary Iannelli | .... | costumer (as Mary White) | |
| Jeannie H. Kelly | .... | assistant costume designer | |
| Valerie Laven-Cooper | .... | costumer | |
| Tom Macdonald | .... | set costumer | |
| Robert Q. Mathews | .... | costume supervisor | |
| Michael A. Russell | .... | costumer: Ms. Barrymore | |
Editorial Department | |||
| Tom Costain | .... | additional editor | |
| Jason Gourson | .... | additional editor | |
| Mo Henry | .... | negative cutter | |
| Skip Kimball | .... | telecine colorist | |
| Dan Muscarella | .... | color timer | |
| Laura Weiss | .... | assistant editor (as Laura J. Weiss) | |
Music Department | |||
| Pete Anthony | .... | conductor | |
| Pete Anthony | .... | orchestrator | |
| Bryan Clements | .... | scoring crew | |
| Mike Deasy | .... | musician | |
| Mark Eshelman | .... | scoring crew | |
| Warren Fitzgerald | .... | musician: guitar | |
| J.J. George | .... | music editor | |
| Stuart Grusin | .... | music editor | |
| Steve Juliani | .... | music preparation | |
| Tom Mgrdichian | .... | musician | |
| Tom Mgrdichian | .... | orchestrator | |
| Adam Michalak | .... | score recordist | |
| Carl Rydlund | .... | orchestrator | |
| Dennis S. Sands | .... | music scoring mixer | |
| Pat Weber | .... | scoring technician | |
| David Carpenter | .... | musician: bass (uncredited) | |
| Scott Rouse | .... | assistant music editor: temp (uncredited) | |
Transportation Department | |||
| Bruce Comtois | .... | driver: cast | |
| Geno Hart | .... | transportation coordinator | |
| Philip Henderson | .... | driver | |
| Kirk Huston | .... | transportation captain | |
| Billy Kane | .... | driver | |
| Hugh Kelly | .... | transportation | |
| Steve Larson | .... | transportation dispatcher | |
| William R. Peck | .... | driver | |
| Adam Pinkstaff | .... | co-transportation captain | |
| Marci South | .... | transportation driver | |
Thanks | |||
| Stan Sandler | .... | dedicated to the memory of | |
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The basic storyline of 50 First Dates: Henry Roth lives in Hawaii and spend his time wooing women who are visiting the island, simply because there is little chance of commitment. Then he meets Lucy Whitmore. One day they hit it off, and the next she doesn't even recognise him. It turns out that she suffers from short-term memory loss, and every day he tries to win her over once more. Firstly, I have to say that 50 First Dates is a really funny film. It isn't overly stupid, but it's not subtle either. But underneath the humour is where I believe this film's true beauty lies. It shows love in a way that I have never seen in another film before. From the way that her family sacrifices everything to keep her happy, and blissfully unaware of her condition, to Henry who, despite the fact that he could have just about any woman that he wanted, decides that he wants to be with Lucy, regardless of the fact that he has to meet her for the first time every day. Henry's character undergoes somewhat of a transformation in front of our eyes. The film starts off with him coming across as somewhat of a pig (well, to us women anyway :)), and by the end of the film, we truly admire him. He even sacrifices his dream so that he can be with Lucy, and help her to move on with her life. The film isn't really predictable, either. For example, I spent the entire films assuming that the ending would be somewhat different. Although romcoms almost always have happy endings, this one damn near had me in tears. And it wasn't even sad. I never knew what a feel-good film was until I saw this...highly recommended.