| Maria Bello | ... | Rosie (archive footage) | |
| Hugh Callaly | ... | Businessman (archive footage) | |
| Stephen Cinabro | ... | Val's Thug (archive footage) | |
| James Coburn | ... | Justin Fairfax (archive footage) | |
| Jack Conley | ... | Det. Leary (archive footage) | |
| Debra L. Dado | ... | Sneaker Lady (archive footage) | |
| William Devane | ... | Carter (archive footage) | |
| Bill Duke | ... | Det. Hicks (archive footage) | |
| Mel Gibson | ... | Porter (archive footage) | |
| John Glover | ... | Phil (archive footage) | |
| Gregg Henry | ... | Val Resnick (archive footage) | |
| Sally Kellerman | ... | Mrs. Bronson (archive footage) (voice) | |
| Lucy Liu | ... | Pearl (archive footage) (as Lucy Alexis Liu) | |
| David Paymer | ... | Arthur Stegman (archive footage) | |
| Roderick Peeples | ... | Hit Man on 'L' Platform (archive footage) | |
| Christian Stolte | ... | Val's Thug (archive footage) (as Christian Stolti) | |
| Deborah Kara Unger | ... | Lynn Porter (archive footage) | |
| Richard Cotovsky | ... | Homeless man at end (archive footage) (uncredited) | |
| Gene Kelly | ... | Bank patron (archive footage) (uncredited) | |
| Sterling Wolfe | ... | Elevator hood (archive footage) (uncredited) |
Directed by | |||
| Brian Helgeland | |||
Writing credits | ||
| Brian Helgeland | (screenplay) | |
| Donald E. Westlake | (novel "The Hunter") (as Richard Stark) | |
Original Music by | |||
| Scott Stambler | |||
Film Editing by | |||
| Kevin Stitt | |||
Set Decoration by | |||
| Sandy Struth | |||
Makeup Department | |||
| Matthew W. Mungle | .... | special prosthetics | |
Second Unit Director or Assistant Director | |||
| Mark Cotone | .... | first assistant director (as Mark Catone) | |
| Jennifer D'Angelo Kircher | .... | second assistant director: second unit | |
| Vince Duque | .... | dga trainee | |
| Forrest L. Futrell | .... | first assistant director: second unit | |
| Franklyn Gottbetter | .... | additional second assistant director: Chicago | |
| Jayson Merrill | .... | second second assistant director: Chicago | |
| Laura Nisbet | .... | second assistant director | |
| Mic Rodgers | .... | second unit director | |
Sound Department | |||
| John K. Adams | .... | sound editor | |
| Bobbi Banks | .... | dialogue editor (as Bobbie Banks) | |
| Bill W. Benton | .... | sound re-recording mixer | |
| Beth Bergeron | .... | dialogue editor | |
| Keith Bilderbeck | .... | sound editor | |
| Trip Brock | .... | dialogue editor | |
| Chris Carpenter | .... | sound re-recording mixer | |
| Michael Chandler | .... | sound editor | |
| Gary Coppola | .... | sound re-recording mixer | |
| Stephanie Flack | .... | dialogue editor | |
| Cindy Jo Hinkleman | .... | assistant sound editor | |
| Jon Johnson | .... | sound supervisor | |
| Rick Kline | .... | sound re-recording mixer | |
| Derek Marcil | .... | sound re-recording mixer | |
| Miguel Rivera | .... | sound editor | |
| Solange S. Schwalbe | .... | dialogue editor (as Solange Schwalbe) | |
| Bruce Stubblefield | .... | sound supervisor | |
| Robert Troy | .... | dialogue editor | |
| Ben Wilkins | .... | sound editor | |
| Chris Winter | .... | assistant sound editor | |
Special Effects by | |||
| Michael Ahasay | .... | special effects technician: Chicago (as Mike Ahasay) | |
| Blair Foord | .... | special effects technician (as Blair F. Foord) | |
| Frank Krenmuller | .... | special effects technician: Chicago | |
| Bob Stoker | .... | special effects supervisor | |
| Mario Vanillo | .... | special effects technician | |
Stunts | |||
| Mic Rodgers | .... | stunt coordinator | |
Editorial Department | |||
| Bob Fernley | .... | digital intermediate producer | |
| Brian Han | .... | digital intermediate production assistant | |
| Natasha Leonnet | .... | digital film colorist | |
| Jack Lewars | .... | digital intermediate colorist assist | |
| Theresa Repola Mohammed | .... | negative cutter | |
| Stephen M. Rickert Jr. | .... | first assistant editor | |
Music Department | |||
| Arlene Fishbach | .... | music clearances | |
| Gordon Goodwin | .... | conductor | |
| Gordon Goodwin | .... | orchestrator | |
| Jim Harrison | .... | supervising music editor | |
| Wade Hubbard | .... | composer: additional music | |
| Peter Rotter | .... | music contractor (as Peter Rodder) | |
| Michael T. Ryan | .... | supervising music editor | |
| Jeanette Surga | .... | music editor | |
| Thomas Vicari | .... | music scoring mixer | |
| Nick Vidar | .... | music programmer | |
Other crew | |||
| Al Cerullo | .... | helicopter pilot | |
| Beth Unger Morrison | .... | script clearance | |
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| Payback | Takers | Faster | The Departed | Kick-Ass |
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| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb USA section |
There's a notorious history behind the 1999 film, 'Payback'. Brian Helgeland's cut of the film was deemed too dark for the movie-going public, and a new director was brought in for restructuring and reshoots. Though Helgeland was still credited, the version released in theaters was very different than what he'd intended - and the "film that could've been" would remain talked-about on the web for nearly ten years afterward. Helgeland was finally able to put the finishing touches on his version, and we have 'Payback: Straight Up - The Director's Cut'.
The basic story remains very much the same. It's still the story of one man with an unyielding thirst for revenge against the man who double-crossed him (Gregg Henry), and the criminal organization that owes him his share. But it's an entirely new and different cut. Gone is the cold blue tint from the theatrical release, leaving a much warmer palette. Also gone is the gravelly-voiced narration by Mel Gibson. And there's a completely new third act that brings about a different ending (though left somewhat ambiguous, the viewer easily gets the hint as to where the story goes once the credits roll). But the biggest difference between the two cuts is the tone. The movie that was released in 1999 had the distinct feel of a '70s caper/revenge movie. There was an undeniable cool to Porter, and plenty of wry humor. But 'Payback: Straight Up' delivers a much more brutal noir film. Instead of the underdog that we can all get behind and root for, Porter is now just ... mean. He lives his life by principle; and once he's wronged, he's out for revenge - with an undeterred sense of purpose that's all-too-uncommon. There's no laughing with this guy. Most of the jokes that were laughed at in 1999 are still here, but they're not as funny. And that has everything to do with the tone. Same story, different movie.
Which is not a bad thing (in the least). If you've ever read the source novel, "The Hunter", by Richard Stark (and you should), 'Straight Up' presents a Mel Gibson that is the very embodiment of the novel's protagonist. He's mean, out for himself, and should not be double-crossed. And Helgeland does a terrific job bringing the character to the silver screen.
It's a solid 8/10 (like its theatrical counterpart), and a rare example of a Director's Cut that is on par with the original version.