| Kay Panabaker | ... | Moondance Alexander | |
| Don Johnson | ... | Dante Longpre | |
| Lori Loughlin | ... | Gelsey Alexander | |
| James Best | ... | Buck McClancy | |
| Sasha Cohen | ... | Fiona Hughes | |
| Whitney Sloan | ... | Megan Montgomery | |
| Joe Norman Shaw | ... | Ben Wilson | |
| Aedan Tomney | ... | Josh Wilson | |
| Greg Lawson | ... | Miles | |
| Tom Carey | ... | Tom Wyman | |
| Landon Liboiron | ... | Freddie | |
| Julia Maxwell | ... | Rachel | |
| Mimi Gianopulos | ... | Bella | |
| Kirk Heuser | ... | Announcer | |
| Brian Gromoff | ... | Judge Tyler | |
| Jemma Blackwell | ... | Judge Harvey | |
| Joyce Doolittle | ... | Rose | |
| Tanya Dixon | ... | Shannon McGinnis | |
| Chanel Sponchia | ... | Sara | |
| David Haysom | ... | Anderson Guard | |
| Heather Seagrave | ... | Aubry | |
| Joe Cipriano | ... | Himself | |
| Mike Weir | ... | Himself | |
| rest of cast listed alphabetically: | |||
| Amanda Philipson | ... | Additional Voices | |
| Picasso | ... | Checkers | |
| Spook | ... | Checkers | |
| Trigger | ... | Checkers | |
Directed by | |||
| Michael Damian | |||
Writing credits(in alphabetical order) | ||
| Janeen Damian | written by | |
| Michael Damian | written by | |
Produced by | |||
| Laurette Bourassa | .... | producer | |
| Janeen Damian | .... | producer | |
| Michael Damian | .... | producer | |
| Brad Krevoy | .... | executive producer | |
| Frank C. Muggia | .... | executive producer | |
| Doug Steeden | .... | producer | |
Original Music by | |||
| Mark Thomas | |||
Cinematography by | |||
| Julien Eudes | |||
Film Editing by | |||
| Avril Beukes | |||
| Bridget Durnford | |||
Casting by | |||
| Rhonda Fisekci | |||
Production Design by | |||
| Myron Hyrak | |||
Set Decoration by | |||
| Jim Murray | |||
Costume Design by | |||
| Carol Case | |||
Makeup Department | |||
| Tania El Zahr | .... | first assistant makeup artist | |
| Cathy Olshaski | .... | key hair stylist | |
Production Management | |||
| Linda MacLean | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Alex Burnett | .... | second assistant director | |
| Jesse Cooper | .... | second second assistant director | |
| Cory Faulkner | .... | first assistant director | |
| Jess Maldaner | .... | trainee assistant director | |
Art Department | |||
| Shelly Goldsack | .... | property master | |
| Albert Seibert | .... | on-set dresser | |
Sound Department | |||
| Tyler Claridge | .... | adr recordist | |
| Tyler Claridge | .... | sound effects editor | |
| Kyle Clausen | .... | sound re-recording mixer | |
| Lisa Hannan | .... | sound effects editor | |
| Michael Kreple | .... | foley mixer | |
| Wade Maude | .... | boom operator | |
| Bryce Shonka | .... | sound effects editor | |
| George Tarrant | .... | sound mixer | |
Visual Effects by | |||
| David Fred Masselink | .... | digital optical compositor | |
| David Van Woert | .... | titles producer | |
| David Van Woert | .... | visual effects producer | |
| Leo Vezzali | .... | visual effects producer | |
Stunts | |||
| T.J. Bews | .... | horse wrangler | |
| Kirk Jarrett | .... | stunt coordinator | |
| Lori MacKay | .... | stunt performer | |
Camera and Electrical Department | |||
| David T. Brown | .... | still photographer | |
| Nancy Klokocka | .... | dolly grip | |
| Brett Manyluk | .... | steadicam operator | |
| Ostap Toroshenko | .... | key grip | |
| Martin Wilde | .... | gaffer | |
Casting Department | |||
| Chris Ippolito | .... | casting assistant | |
| Kris Rurka | .... | extras casting | |
Costume and Wardrobe Department | |||
| Mary Hyde-Kerr | .... | costume set supervisor | |
Editorial Department | |||
| David Tai Bornoff | .... | additional editorial | |
| Randy Coonfield | .... | video colorist | |
| Flo Krisko | .... | colorist | |
| Mato | .... | color timer | |
| Scott Freeman | .... | on-line digitizer (uncredited) | |
Music Department | |||
| Jorge Costa | .... | additional music editor | |
| Tom Dalgety | .... | music scoring engineer | |
| James Fitzpatrick | .... | music contractor | |
| Jan Holzner | .... | score recording engineer | |
| Alistair Primrose | .... | music preparation and score reader: recording session | |
| Larry Weir | .... | music producer | |
| Tom Weir | .... | score mixer | |
Other crew | |||
| Alan Abrams | .... | production legal | |
| Tony Desmond | .... | key accountant | |
| Jan Gillan | .... | first assistant accountant | |
| Steven Hanulik | .... | assistant production coordinator | |
| Cameron Macgowan | .... | production assistant | |
| Allison Mella Strina | .... | business and legal affairs (as Allison J. Mella) | |
| Jason Nolan | .... | assistant location manager | |
| Ben Owens | .... | location manager | |
| Kelly Stone | .... | production coordinator | |
Thanks | |||
| Michael Blakey | .... | the producers wish to thank | |
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| Giant | Summer Magic | Savage Grace | Click | The Parent Trap |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Family section | IMDb USA section |
If you've already seen "Black Beauty," "National Velvet" or "My Friend Flicka," you might want to take a pass on "Moondance Alexander," a wan girl-and-her-horse saga that doesn't even have the energy or conviction to rise above its own clichés.
Moondance is a ninth-grade social outcast who finds meaning and purpose in life when she spends the summer taking care of and learning to ride a horse owned by a cantankerous but lovable Pygmalion played by Don Johnson (think of it as an equine version of "My Fair Lady," minus the songs and quality). The first credibility obstacle we have to overcome is accepting the spunky and attractive Moondance as a girl who can't find herself a single friend (well, the two-legged type anyway).
The paint-by-numbers screenplay comes replete with a miraculous horse healing, a bevy of Valley Girl elitists straight out of Central Casting, and a horse-jumping competition that has all the drama and suspense of a Tiddlywinks tournament in Oshkosh.
Ah well, at least the movie boasts, in the person of Kay Panabaker, a young actress with a great deal of charm and potential. And, besides, where else are you going to hear a line like, "Moondance, I want you to take Checkers over to the stables," if not in this film? Surely, that ought to count for something, don't you think?