Directed by | |||
| Stephen Surjik | |||
Writing credits(in alphabetical order) | ||
| Chris Haddock | written by | |
Produced by | |||
| Chris Haddock | .... | executive producer | |
| Carwyn Jones | .... | co-producer | |
| Laura Lightbown | .... | executive producer | |
| Arvi Liimatainen | .... | producer | |
| Stephen Surjik | .... | co-producer | |
Original Music by | |||
| Schaun Tozer | |||
Cinematography by | |||
| David Frazee | (director of photography) | ||
Film Editing by | |||
| Alison Grace | |||
Casting by | |||
| Lynne Carrow | |||
Production Design by | |||
| Rachel O'Toole | |||
Art Direction by | |||
| Murray Gilmour | |||
Set Decoration by | |||
| Shane Vieau | (as Shane 'Parro' Vieau) | ||
Costume Design by | |||
| Sheila White | |||
Makeup Department | |||
| Beverley Keigher | .... | key makeup artist (as Beverley Benjamin Keigher) | |
| Sharon Mosley | .... | assistant hair stylist | |
| Janet Sala | .... | hair stylist | |
| Candice Stafford | .... | assistant makeup artist | |
Production Management | |||
| Nicole Thompson | .... | post-production supervisor | |
| Michael Williams | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Caroline Battista | .... | second assistant director | |
| Ted Emerson | .... | trainee assistant director | |
| Julie Hemmerling | .... | third assistant director | |
| Lee Knippelberg | .... | first assistant director | |
| Victor Landrie | .... | second assistant director | |
Art Department | |||
| Bryan Anderson | .... | on-set dresser | |
| Carlos Bolbrugge | .... | assistant art director | |
| Doug Currie | .... | paint coordinator | |
| Jim Davie | .... | construction coordinator | |
| Gordon Deyell | .... | property master (as Gord Deyell) | |
| Dave Fleisher | .... | assistant property master | |
| Carole Kelly | .... | paint foreman | |
| Mark Rathgeber | .... | construction foreman | |
| Sigrid Spade | .... | assistant set decorator | |
| Paul Wagner | .... | on-set props | |
| Kelly Brine | .... | storyboard artist (uncredited) | |
| Michael Jovanovski | .... | lead dresser (uncredited) | |
| Todd Keller | .... | on-set dresser (uncredited) | |
Sound Department | |||
| Chris Fairfield | .... | adr recordist | |
| Chris Fairfield | .... | foley recordist | |
| Chris Fairfield | .... | walla recordist | |
| Brad Hillman | .... | sound designer | |
| Brad Hillman | .... | sound re-recording mixer | |
| James Kusan | .... | production sound mixer | |
| Mark Noda | .... | boom operator | |
| Miguel Nunes | .... | sound designer | |
| Miguel Nunes | .... | sound re-recording mixer | |
| Brody Ratsoy | .... | adr foley | |
| Jeff Shannon | .... | assistant sound editor | |
| Adrian Taverner | .... | assistant sound editor | |
| John R.S. Taylor | .... | dialogue editor | |
| Nicole Thompson | .... | sound supervisor | |
| Cam Wagner | .... | foley artist | |
| Jim Lacamel | .... | boom operator (uncredited) | |
| Craig Stauffer | .... | sound mixer (uncredited) | |
Special Effects by | |||
| Reg Milne | .... | special effects coordinator | |
Stunts | |||
| Garvin Cross | .... | stunt coordinator | |
| Jeff Sanca | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Michael Courtney | .... | still photographer | |
| Richard Eagan | .... | first assistant camera | |
| Todd Elyzen | .... | camera operator | |
| Miguel Gelinas | .... | best boy grip | |
| Andre Gheorghiu | .... | second assistant camera | |
| Sarah Mather | .... | camera trainee | |
| Wil Parrott | .... | key grip | |
| Tony Richardson | .... | best boy electric | |
| Sean Rooney | .... | gaffer | |
| Rob Sperling | .... | grip | |
| Mark Weinhaupl | .... | second assistant camera | |
| Jeff Petry | .... | still photographer (uncredited) | |
Casting Department | |||
| Melissa Perry | .... | casting associate | |
| Natasha Tony | .... | extras casting | |
| Larkin MacKenzie-Ast | .... | casting assistant (uncredited) | |
Costume and Wardrobe Department | |||
| Patrick Gray | .... | costume supervisor | |
| Christine Kunicki | .... | assistant costume designer | |
Editorial Department | |||
| Earl Fudger | .... | assistant editor | |
| Bryan Heidinger | .... | post-production coordinator | |
| Ryan Hogan | .... | colorist | |
| David Robinson | .... | on-line editor | |
| Mykel Thuncher | .... | colorist | |
| Claudio Sepulveda | .... | final colorist (uncredited) | |
Music Department | |||
| Chris Robinson | .... | music supervisor | |
| Chris Robinson | .... | music consultant (uncredited) | |
Transportation Department | |||
| Dave Liboiron | .... | unit transportation coordinator | |
| Lee Moors | .... | driver captain | |
| Manfred Rossdeutscher | .... | transportation co-captain (2005) | |
Other crew | |||
| Michelle Almaz Tadege | .... | production coordinator (as Almaz Tadege) | |
| Carol Chestnut | .... | legal services: Heenan Blaikie LLP | |
| Ann Marie Clark | .... | script supervisor (as Ann Marie Clarke) | |
| Arthur Evrensel | .... | legal services: Heenan Blaikie LLP (as Arthur Evensel) | |
| Rick Fearon | .... | location manager | |
| Les Ford | .... | computer playback designer | |
| Brook Gies | .... | assistant production coordinator | |
| Mike Helms | .... | assistant location manager | |
| Heather Howe | .... | assistant to producers | |
| Lorraine Jamison | .... | unit publicist | |
| Cathy Lauzon | .... | production accountant | |
| Susan Morgan | .... | creative head: tv drama, CBC | |
| Tim Mudd | .... | business affairs | |
| Joel Tong | .... | head title design | |
| Krista Johnston | .... | clearance (uncredited) | |
| Brett McDermid | .... | second assistant coordinator (uncredited) | |
| Darin Mickelson | .... | key production assistant (uncredited) | |
| Nancy Vibert | .... | payroll accountant (uncredited) | |
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| The Mysterious Pilot | The Departed | Miami Vice | Federal Agents vs. Underworld, Inc. | King of New York |
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| Full cast and crew | Company credits | News articles |
| IMDb Crime section | IMDb Canada section |
"Intelligence" involves what happens when a Vancouver dope smuggler, Jimmy Reardon (played by Ian Tracey in his first leading role in years), gets his hands on the files of informants for the local Organized Crime Unit. The OCU's chief, Mary Spalding (played by Klea Scott), is being headhunted by CSIS. She is anxious to recruit Reardon as a high-level informant while also wanting the files back with no harm done to any of the informants. But her scuzzy second in command, Ted Altman (played by Matt Frewer), is equally anxious to bring her down and save his own job after losing said files to a car thief. His underhanded methods lead to ugly things even as Reardon and Spalding forge a tentative alliance.
While it's no secret that this is a potential TV-movie pilot for CBC, the final product is a full-fledged feature film that makes recent British and American cinema thriller offerings look pathetic. The usual subtle Canadian acting and cynical writing pair up nicely with better-than-usual production values. Vancouver, as itself and not some other city, looks great.
Since this comes from Haddock Entertainment, a huge number of actors and actresses from Da Vinci's Inquest show up. My favorite was a cameo by Alex Diakun as one of Reardon's employees. Matt Frewer struggles a bit with his role, though, since Altman is unfortunately the weak link in the chain, one of Haddock's now just about patented paper-thin bad guys with no realistic motivation. This makes the cliff-hangerish ending more annoying than necessary.
Ian Tracey and Klea Scott, however, both finally get the roles that they deserve as leads and not back-ups to pretty people who can't act. Reardon and Spalding have a fascinating, almost Renaissance Italian, relationship--two great magnates who are inherently good, but are trapped in a dark world that worships ruthlessness. Both of them have underlings who constantly urge them to commit cold and vicious acts, just to show that they aren't "soft". Yet, it's the tough refusal of each one to sink to that lowest moral level that establishes an immediate common ground between them as soon as they meet.
I sincerely hope that the film's makers get their funding for a series, because there is a great deal here to explore. As the Canadians like to say, "It's all good."