| Photos (See all 17 | slideshow) | Videos (see all 16) |
| Patrick Fabian | ... | Cotton Marcus | |
| Ashley Bell | ... | Nell Sweetzer | |
| Iris Bahr | ... | Iris Reisen | |
| Louis Herthum | ... | Louis Sweetzer | |
| Caleb Landry Jones | ... | Caleb Sweetzer | |
| Tony Bentley | ... | Pastor Manley | |
| John Wright Jr. | ... | John Marcus | |
| Shanna Forrestall | ... | Shanna Marcus | |
| Justin Shafer | ... | Justin Marcus | |
| Carol Sutton | ... | Shopkeeper | |
| Victoria Patenaude | ... | Motorist | |
| John Wilmot | ... | Spindly Man | |
| Becky Fly | ... | Becky Davis | |
| Denise Lee | ... | Nurse | |
| Logan Craig Reid | ... | Logan Winters | |
| Sofia Hujabre | ... | Cafe Manager | |
| Adam Grimes | ... | Daniel Moskowitz | |
| rest of cast listed alphabetically: | |||
| Cy Fahrenholtz | ... | Churchgoer (uncredited) | |
| Geraldine Glenn | ... | Churchgoer (uncredited) | |
| Cynthia LeBlanc | ... | Churchgoer (uncredited) | |
| Elton LeBlanc | ... | Churchgoer (uncredited) | |
Directed by | |||
| Daniel Stamm | |||
Writing credits(WGA) | ||
| Huck Botko | (written by) & | |
| Andrew Gurland | (written by) | |
Produced by | |||
| Marc Abraham | .... | producer | |
| Thomas A. Bliss | .... | producer | |
| Patrick Curd | .... | co-executive producer | |
| Ron Halpern | .... | executive producer | |
| Gabrielle Neimand | .... | co-producer | |
| Eric Newman | .... | producer | |
| Douglas Plasse | .... | co-executive producer (as Doug Plasse) | |
| Eli Roth | .... | producer | |
| Patty Long | .... | line producer (uncredited) | |
Original Music by | |||
| Nathan Barr | |||
Cinematography by | |||
| Zoltan Honti | |||
Film Editing by | |||
| Shilpa Sahi | |||
Casting by | |||
| Lauren Bass | |||
Production Design by | |||
| Andrew W. Bofinger | |||
Costume Design by | |||
| Shauna Leone | |||
Makeup Department | |||
| Howard Berger | .... | special makeup effects artist | |
| Alex Diaz | .... | on set supervisor: special effects makeup | |
| Krystal Kershaw | .... | key makeup artist | |
| Gregory Nicotero | .... | special makeup effects artist (as Greg Nicotero) | |
| Marcos Gonzales | .... | key hair stylist (uncredited) | |
Production Management | |||
| Patty Long | .... | unit production manager | |
| Joan Malloch | .... | post-production supervisor | |
| John Portnoy | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Gregory S. Carr | .... | second assistant director | |
Sound Department | |||
| Michael Baird | .... | supervising sound designer | |
| Roberto Cappannelli | .... | sound re-recording mixer | |
| Rene Defrancesch | .... | boom operator | |
| Robert Dehn | .... | sound studio manager | |
| Brent Findley | .... | sound effects editor | |
| Jason Gaya | .... | adr mixer | |
| Corey J. Grasso | .... | adr mixer | |
| Angela Hemingway | .... | adr dialogue editor | |
| Steven Iba | .... | assistant sound editor | |
| Jonathan Pendergrass | .... | foley editor | |
| Jonathan Wales | .... | sound re-recording mixer | |
Special Effects by | |||
| Larry Barado | .... | special effects foreman | |
| Edward Joubert | .... | special effects technician | |
| David K. Nami | .... | special effects coordinator | |
Visual Effects by | |||
| Christine Carr | .... | visual effects producer | |
| Shane Cook | .... | compositing supervisor: Gradient Effects | |
| Christopher Dusendschon | .... | digital imaging supervisor: iO FILM | |
| Dylan Highsmith | .... | visual effects editor | |
| Thomas Kernan | .... | model lead: Gradient Effects | |
| James Polk | .... | character technical director: Gradient Effects | |
| Olcun Tan | .... | digital effects supervisor | |
| Thomas Tannenberger | .... | visual effects supervisor | |
| Cameron Thomas | .... | compositor: Gradient Effects | |
| Fiona Campbell Westgate | .... | visual effects producer: Gradient Effects | |
Stunts | |||
| Trace Cheramie | .... | stunt coordinator | |
| Steve Picerni | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Marcus Kellum | .... | second assistant camera | |
| Justin LeBlanc | .... | light balloon technician | |
| Christopher Meydrich | .... | additional grip | |
| Myron Parran | .... | first assistant camera | |
| Patti Perret | .... | still photographer | |
| Declan Ryan | .... | lighting balloon technician | |
| Jared Talbot | .... | additional set lighting technician | |
| Nathan Tape | .... | gaffer | |
| Trevor Tufano | .... | second assistant camera | |
| Joseph Walsh | .... | assistant camera | |
| Chris Weaver | .... | key grip | |
| Kristopher Weaver | .... | key grip | |
Casting Department | |||
| Jordan Bass | .... | casting associate | |
| Lauri David | .... | background casting | |
| Terri Douglas | .... | adr voice casting | |
Costume and Wardrobe Department | |||
| Doré Cermak | .... | key costumer | |
| Reba Saul | .... | ager/dyer | |
Editorial Department | |||
| James Ahern | .... | digital intermediate editor | |
| Adam Hawkey | .... | digital intermediate colorist | |
| Michael John Koetter | .... | software engineer | |
| Franklin Peterson | .... | assistant editor | |
| Mathieu Reid | .... | color timer | |
| Jay Trautman | .... | assistant editor | |
Music Department | |||
| Mary Parker | .... | music consultant | |
Transportation Department | |||
| Will Bourne | .... | driver: cast | |
| Brian Mathews | .... | production driver | |
Thanks | |||
| Leonard Alsfeld | .... | special thanks | |
| David Birke | .... | special thanks | |
| John Bobear | .... | special thanks | |
| Valerie Bobear | .... | special thanks (as Valerie 'Armbruster' Bobear) | |
| James Brooke | .... | special thanks | |
| James T. Bruce IV | .... | special thanks (as James Bruce) | |
| Fatimah Conley-Mayfield | .... | special thanks | |
| Jerry Gilbert | .... | special thanks: Louisiana Media Services | |
| Thomas S. Hammock | .... | special thanks (as Tom Hammock) | |
| Gary D. Jones | .... | special thanks | |
| Hunter Moskowitz | .... | special thanks (as Hunter L. Moskowitz) | |
| Sara Northcutt | .... | special thanks: Hampton Inn Hotels & Suites of New Orleans | |
| The People of Louisiana | .... | special thanks | |
| Louis Pomes | .... | special thanks | |
| David Pomier | .... | special thanks (as Dave Pomier) | |
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| Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan | The Exorcism of Emily Rose | The Omen | The Night of the Hunter | Man Bites Dog |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
The whole setup here is that we have a professional actor - paid to put on shows about fire and brimstone - who will need to discern over the course of the film who is putting on the show he finds himself in. A film crew is turning this into a movie, presumed to reveal hidden mechanisms that move spectators. Turns out something else is controlling the thing and moving parts we thought we knew all about and possibly us. This will test his mettle as a showman himself, let's say his faith in the healing power of his act (art?). Is the girl acting out some repressed sexual trauma? Is the father, at the same time covering his tracks with Jesus babble? Or is the demon, the great trickster? (a mild problem here is that, the film being what it is, we never really wonder, do we?)
This is excellent stuff and could have worked as more than horror. Indeed, until the last part horror is intermittent here. Our focus is on juggling one show as part of another while getting to decide which one horrifies more. The choice for 'found footage' is one of the better applications I've seen in terms of structure; it means we have one more show running behind the other two, and one that we use to look for the real root of horror. There are many dramatic shots in the flow, but we can chalk these to the presence of a professional cameraman.
The ending has been reported as problematic. Oh, it is graphic but in ways that have become a staple in films dealing with some extraordinary demonic darkness; Polanski, Rosemary as well as Ninth Gate, the Hammer shocker The Devil Rides Out, Night of the Demon, recently Drag me to Hell. Many viewers bemoan the revelation and tend to prefer the whole thing coated in whispers and rumors. Fair point.
It works for me because it allows us to recast evil as another staged trick. Another group of people are brought in at the last moment to enact a show, the real deal this time. Real fire and brimstone. Death comes as storyboarded earlier.
If you're interested in the scam priest angle, it's only a light-hearted jab at faith here. Watch Marjoe for a more chilling portrait, the '72 documentary on the "World's Youngest Ordained Minister".