IMDb > Night Catches Us (2010)
Night Catches Us
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Night Catches Us (2010) More at IMDbPro »

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Night Catches Us -- In 1976, complex political and emotional forces are set in motion when a young man returns to the race-torn Philadelphia neighborhood where he came of age during the Black Power movement.

Overview

User Rating:
6.3/10   1,155 votes »
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Director:
Writer:
Contact:
View company contact information for Night Catches Us on IMDbPro.
Release Date:
3 December 2010 (USA) See more »
Genre:
Tagline:
United by revolution, divided by the past
Plot:
In 1976, complex political and emotional forces are set in motion when a young man returns to the race-torn Philadelphia neighborhood where he came of age during the Black Power movement. | Add synopsis »
Awards:
9 wins & 16 nominations See more »
User Reviews:
great film portrays some costs of devilishly difficult moral choices See more (14 total) »

Cast

  (in credits order)

Anthony Mackie ... Marcus Washington
Jamara Griffin ... Iris Wilson
Sadiq Afif ... Colin Dixon

Shango Rich ... Francis Southerland

Kerry Washington ... Patricia Wilson

Ron Simons ... Carey Ford

Tariq Trotter ... Bostic Washington

Damali Mason ... Auntie Lorraine
Jann Ellis ... Auntie Cecile

Thomas Roy ... Old Man Harrison

Amari Cheatom ... Jimmy Dixon
William Zielinski ... Frank Cherry
Christopher Kadish ... Partner

Jamie Hector ... Dwayne 'DoRight' Miller

Nakia Dillard ... T.T

Wendell Pierce ... David Gordon
Matthew Russell ... Young Detective
rest of cast listed alphabetically:
Steve Kaufmann ... Cop #2
Art Lyle ... Police Officer

Tariq Rasheed ... Neil Wilson
Kevin C. Walls ... Police Officer

Whitney Wilcox ... Child in Kitchen
Tom Leonard ... Backyard Guest (uncredited)

Directed by
Tanya Hamilton 
 
Writing credits
(in alphabetical order)
Tanya Hamilton 

Produced by
Sean Costello .... producer
Sheri Davani .... associate producer
Tanya Hamilton .... co-producer
Katie Mustard .... co-producer
Katie Mustard .... line producer
Jason Orans .... producer
Ron Simons .... producer
Adam Spielberg .... co-producer
Althunder Thompson .... associate producer
April Yvette Thompson .... consulting producer
Elliott Williams .... associate producer
 
Original Music by
Tom Paul 
 
Cinematography by
David Tumblety 
 
Film Editing by
John Chimples 
Affonso Gonçalves 
 
Casting by
Lois J. Drabkin 
 
Production Design by
Beth Mickle 
 
Art Direction by
Michael Ahern 
 
Set Decoration by
Daniel R. Kersting 
 
Costume Design by
Maren Reese 
 
Makeup Department
April Chatman-Royce .... key makeup artist
Tameaka M. Davis .... assistant hair stylist
Robin Day .... hair designer
 
Production Management
Maura Anderson .... unit production manager
 
Second Unit Director or Assistant Director
Sheri Davani .... first assistant director
Lauren K. McGarry .... second assistant director (as Lauren McGarry)
Mel Orpen .... second second assistant director
 
Art Department
Matthew Amenta .... assistant property master
Jeremy L. Balon .... property master
Ronnie Bruce .... graphic artist
Steven Denisevicz .... on-set dresser
Etoie Edwards-Edlind .... assistant muralist/painter
Noah Grant-Levine .... leadman
Matamba Kombila .... scenic artist
Rebecca Lawrence .... art coordinator
Logan Monighan .... second assistant props
Ramona Sadiq .... picture vehicle coordinator
Shenna Vaughn .... painter/muralist
Tess Yardney .... art intern
 
Sound Department
Shawn Allen .... boom operator
Leslie Bloom .... foley artist
James Hicken .... m&e foley recordist
Dan Korintus .... dialogue editor
Wil Masisak .... sound mixer
Eric Milano .... supervising sound editor
Tom Paul .... sound re-recording mixer
Esther Regelson .... adr editor
Steven Tollen .... sound executive producer
 
Visual Effects by
Manny Dubon .... iq artist
 
Stunts
Roy Farfel .... stunt coordinator
 
Camera and Electrical Department
Bernice Autovino .... additional grip (as Bernice Mandy)
Stephen Breslin .... second assistant camera
David Briggs .... gaffer
Nicholas Bupp .... third electric
Paul Dickover .... additional electric
Blake Eichenseer .... additional grip
King J. Greenspon .... best boy grip
King J. Greenspon .... dolly grip
Rory Hanrahan .... first assistant camera
Kristopher Chain Harris .... camera intern
Matt Imbrogno .... additional best boy electric
Benjamin Kitchens .... additional best boy electric
Damon Meledones .... additional digital imaging technician
Blaise Miller .... additional electric
Joel Minnich .... additional grip
Zachary Rubino .... third grip (as Zac Rubino)
Anneke Schoneveld .... set still photographer
Andrew Shankweiler .... best boy electric
John Bernard Vallon .... digital imaging technician
Andrew Wheeler .... key grip
 
Casting Department
Annette Kaplafka .... local casting: Philadelphia
Mike Lemon .... local casting: Philadelphia
Zach Warsavage .... extras casting/coordinating
 
Costume and Wardrobe Department
Celeste Elechi .... wardrobe intern
Kathryn Epps .... wardrobe intern
Tamika Jackson .... on-set costumer
Lindsey Kruichak .... set costumer
Ashley Shartle .... wardrobe supervisor
 
Editorial Department
Nick Esposito .... assistant editor
Gregg Garvin .... digital intermediate colorist
Vahe Giragol .... iq assist
Jeffrey N. Levin .... assistant editor
Jonathon Norcross .... editing intern
Zara Park .... digital intermediate producer (as Zara Roberts)
Robert Pearre .... assistant editor
Frank Reynolds .... additional editor
Scot Starbuck .... colorist
Drew Patrick Williams .... editing intern
 
Music Department
Chris Davis .... assistant music editor
Dave Golden .... music editor
Dave Golden .... music supervisor
Perry Levy .... assistant music editor
Tom Paul .... composer: additional music
 
Other crew
Joshua Biney .... set intern
Owen Byrne .... production assistant
Jean-Paul Chreky .... script supervisor
Jessica Clauser .... production assistant
Frederick Cliver .... unit production assistant
John Cotter .... office intern
Remington Devereaux .... stand-in
Edward J. Eberwine III .... location manager
Maggie Edinger .... office intern
Amanda Fawley .... production assistant
Loretta J. Gary .... craft service
Dasha Halken .... stand-in
Alana Hoffman .... office intern
Tamar Lisbona .... office intern
Matthew Medlin .... accountant
Francis Menna .... office production assistant
Aaron Benjamin Miller .... on-set medic
Mikelle Nickens .... office intern
Raquel Maria Perazzo .... assistant unit publicist
Sharon Pinkenson .... film commissioner: Philadelphia
Zachary Quemore .... assistant location manager
Pamela Ryan .... production coordinator
Andrew Salerno .... additional location assistant
John Schuman .... senior armorer
Taj Shareef .... office intern
Amanda Spaeder .... office intern
Kyle Sparano .... key set production assistant
Sarah Stoecker .... production assistant
Ian M. Stratford .... financial counsel
Anita Surendran .... legal counsel
Christina Thomas .... office intern
Zach Warsavage .... extras coordinator
Zach Warsavage .... production assistant
Anastasia Weeks .... set intern
Kim Yacoubian .... office intern
 
Thanks
Richard Hicks .... special thanks
 

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
MPAA:
Rated R for language, some sexuality and violence
Runtime:
90 min
Country:
Language:
Color:
Sound Mix:
Certification:
USA:R (certificate #46290)

Did You Know?

Trivia:
The white Cadillac in the film is a 1969 Sedan DeVille.See more »
Goofs:
Anachronisms: The blue Chevy Caprice police car is a 1986-1990 model, even though the film is supposed to take place in 1976.See more »
Movie Connections:
Referenced in "Teen Wolf: The Tell (#1.5)" (2011)See more »

FAQ

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5 out of 7 people found the following review useful.
great film portrays some costs of devilishly difficult moral choices, 30 January 2011
Author: chuck-526 from Ipswich MA

"Night Catches Us" is the best art-house film I've seen in several months. In fact it bests a lot of the current main-screen fare. It deserves better than the quiet and uneven release it seems destined for.

I saw it back-to-back with the Oscar contender "The King's Speech". It balanced the double bill reasonably well. Although "The King's Speech" is of course superior, the comparison wasn't simply ridiculous.

I saw it twice ...which I often do with films I really like, as I tend to miss too many things the first time.

It's not moralistic. Both sides of survival vs. justice, violence vs. pacifism, united front vs. paranoia, victims vs. victimizers, and this generation vs. the next generation are portrayed sympathetically. Although at first glance one particular style of being seems to be being touted over the others, just a little reflection reveals that the film actually revels in moral ambiguity. Some characters manage to stay on the good side of the respectability line at all times, even while their inner demons are picked up and expressed -sometimes in socially unacceptable ways- by others around them. The camera notices more latent contradictions than the story ever delves into. For example the reverend was apparently beloved by the neighborhood, yet also lived in by far the finest house in the whole area.

The film isn't a polemic and doesn't seem to consciously attempt to portray cops in a bad light. Yet it doesn't shy away from sketches of substantial police bad attitude and violence.

"Night Catches Us" makes liberal use of art-house stylistic conventions. For example the confused, tangled, and partially submerged thoughts of a character are portrayed not by talking about them or even by seeing them in action, but by long leisurely shots from underneath of the crossed branches of overgrown vegetation. For another example, a character's longing for stability and tranquility is portrayed by lengthy shots of the proverbial babbling brook.

I wasn't irritated by the pacing. The film is by no means an action flick or a taut thriller, but I didn't find it like watching paint dry either. I tend to like slower paced films anyway (which of course doesn't mean everybody else will too:-). The most similarly paced movie that comes to mind is Clint Eastood's recent "Hereafter"; if you thought that was impossibly slow you'll probably have the same reaction to "Night Catches Us", but if that character exposition and portrayal of small events grabbed you this likely will too.

All the action takes place over just a few days in 1976. A block of important events that happened about a decade earlier is described mainly through bits of dialog. There are no visual flashbacks nor dream sequences (except of course for the occasional interspersed archival Black Panthers footage).

I found the acting quite good. It doesn't bowl you over as the greatest thing you've seen in years; but it's by no means "just workmanlike". Quite often meaning is communicated not by dialog but by subtle body language or facial expressions, which the actors seem fully up to. Both the individual characters and the chemistry between the characters are believably convincing.

I found the situation (or plot if you prefer to think of it that way) simple and complex at the same time. It's simple in that once you finally grasp it you can describe the whole thing in one short paragraph, and in that if you're one of those people who instantly "get" most movie clues you might be able to divine the whole thing well in advance. On the other hand it's complex in that it's revealed only one tiny bit at a time -sometimes in dialog and sometimes visually- so the whole movie can become a "mystery" to be solved if that's your preference.

Was the above review useful to you?
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