| Daphne Zuniga | ... | Diana McQueen | |
| Greg Evigan | ... | Tom Rourke | |
| Cameron Bancroft | ... | Beau Canfield | |
| Vincent Gale | ... | Ghost | |
| G. Patrick Currie | ... | Kelly (as Patrick Currie) | |
| Tom Heaton | ... | Willy | |
| William MacDonald | ... | Sheriff | |
| Michael Teigen | ... | Joe | |
| Brendan Beiser | ... | Auctioneer | |
| Ted Whittall | ... | Aaron Carlyle | |
| Katharine Isabelle | ... | Jen | |
| Angelo Renai | ... | Franco | |
| Philip Granger | ... | Association Rancher | |
| Karin Konoval | ... | Mrs. Vaughn | |
| Robert Mann | ... | Stagecoach Clerk | |
| Patrick Gilmore | ... | Homesteader | |
| Marcos Amaya Torres | ... | Banjo Player (as Marcos Amaya-Torres) | |
| Oliver Schenelder | ... | Accordion Player |
Directed by | |||
| Anne Wheeler | |||
Writing credits(WGA) | ||
| Tippi Dobrofsky | (written by) & | |
| Neal H. Dobrofsky | (written by) (as Neal Dobrofsky) | |
Produced by | |||
| Suzanne L. Berger | .... | supervising producer (as Suzanne Berger) | |
| Randy Cheveldave | .... | producer (as Randolph Cheveldave) | |
| Noreen Halpern | .... | executive producer | |
| Sunta Izzicupo | .... | executive producer | |
| John Morayniss | .... | executive producer (as John Moranyniss) | |
| Ira Pincus | .... | executive producer | |
| Dori Weiss | .... | executive producer | |
Original Music by | |||
| Michael Richard Plowman | |||
Cinematography by | |||
| David Pelletier | (director of photography) (as Dave Pelletier) | ||
Film Editing by | |||
| Jana Fritsch | |||
Production Design by | |||
| Paul Joyal | |||
Art Direction by | |||
| Sean Carvajal | |||
Set Decoration by | |||
| Josh Plaw | |||
Costume Design by | |||
| Beverley Wowchuk | (as Beverly Wowchuk) | ||
Makeup Department | |||
| Jullin Hadden | .... | hair stylist | |
| Diane Holme | .... | swing hair/makeup (as Dianne Holmes) | |
| Kathy Howatt | .... | makeup artist (as Kathleen Howatt) | |
| Kathryn Jarymy | .... | assistant makeup artist | |
| Deborah Kliewer | .... | swing hair/makeup (as Deb Kliewer) | |
Production Management | |||
| Keith Hines | .... | post-production supervisor | |
| Nancy Welsh | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Shelley Cox | .... | second assistant director | |
| Trevor Ralph | .... | third assistant director | |
| Patricia Dyer Walden | .... | first assistant director (as Patricia Dyer-Walden) | |
Art Department | |||
| Jean-Paul Carthy | .... | on-set dresser | |
| Matt Eaton | .... | construction coordinator | |
| Christine Ganderton | .... | assistant props | |
| Linda Ganderton | .... | props master | |
| David Lewis | .... | lead dresser (as Dave Lewis) | |
| Chris Nohel | .... | assistant decorator | |
Sound Department | |||
| Graeme Duffy | .... | walla director | |
| Chris Fairfield | .... | adr recordist | |
| Chris Fairfield | .... | background editor | |
| Chris Fairfield | .... | walla recordist | |
| Patrick Haskill | .... | sound designer (as Pat Haskill) | |
| Gord Hillier | .... | dialogue editor | |
| Gord Hillier | .... | sound re-recording mixer | |
| Luke Martin | .... | foley mixer | |
| Luke Martin | .... | sound effects editor | |
| Ryan McKinnon | .... | foley editor | |
| Shawn Miller | .... | sound mixer | |
| Millar Montgomery | .... | boom operator (as Miller Montgomery) | |
| Maureen Murphy | .... | foley artist | |
| Brody Ratsoy | .... | sound re-recording mixer | |
| Brody Ratsoy | .... | sound supervisor | |
| Hank Shih | .... | assistant dialogue editor | |
| Hank Shih | .... | walla editor | |
| Steve Szeto | .... | assistant dialogue editor | |
| Cam Wagner | .... | foley artist | |
Special Effects by | |||
| David Allinson | .... | special effects coordinator (as Dave Allinson) | |
| Russell Allinson | .... | special effects assistant | |
| Pierre-Paul Charbonneau | .... | special effects assistant (as Pierre Paul Charbonneau) | |
| Michael Walls | .... | special effects first assistant | |
Visual Effects by | |||
| Romald Geoffery | .... | visual effects (as Geoffery Antony) | |
Stunts | |||
| Shannon Aldrich | .... | stunts | |
| Janene Carleton | .... | riding double: Diana | |
| Chad Cosgrave | .... | stunt driver: stage coach | |
| Chad Cosgrave | .... | stunts | |
| Mike Garthwaite | .... | stunts | |
| Corry Glass | .... | riding double: Diana (as Corey Glass) | |
| Dave Leader | .... | stunts (as David H Leader) | |
| Quentin Schneider | .... | stunts | |
| Heath Stevenson | .... | stunts | |
| Clay Virtue | .... | stunt coordinator | |
| Danny Virtue | .... | stunt coordinator | |
| Eli Zagoudakis | .... | stunts | |
Camera and Electrical Department | |||
| Dan Basaraba | .... | dolly grip | |
| Michael Berlinguette | .... | grip | |
| Monty Black | .... | generator operator | |
| Geoff Dane | .... | best boy (as John Geoffrey Dane) | |
| Filip Dobosz | .... | second assistant camera: "b" camera | |
| Christian Elton | .... | lamp operator (as Christian Eric Elton) | |
| Mike Fiedler | .... | best boy (as Mike Fielder) | |
| Miguel Gelinas | .... | key grip | |
| Rayne Holloway | .... | lamp operator | |
| Darren Joseph | .... | second assistant camera | |
| Ryan Ketchum | .... | lamp operator | |
| Chris Large | .... | still photographer | |
| Iván Maldonado | .... | Steadicam (as Ivan Maldonado) | |
| Iván Maldonado | .... | camera operator: "b" camera (as Ivan Maldonado) | |
| Stephen J. McKnight | .... | first assistant camera: "b" camera (as Stephen McKnight) | |
| Jos Oman | .... | first assistant camera | |
| Glenn Pineau | .... | camera operator: "a" camera | |
| Miles Robison | .... | trainee | |
| Kyle Ruiterman | .... | grip | |
| Jim Swanson | .... | gaffer | |
| Katie Yu | .... | still photographer | |
Casting Department | |||
| Linda LaBelle | .... | extras casting (as Linda Labelle) | |
| Larkin MacKenzie-Ast | .... | casting: Canada (as Larkin Mackenzie-Ast) | |
| Melissa Perry | .... | casting: Canada | |
| Melissa Skoff | .... | casting: US | |
| Lynette Therrien | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Derek J. Baskerville | .... | truck costumer (as Derek Baskerville) | |
| Catherine Church | .... | costume coordinator | |
| Brittany Elchuk | .... | costume intern | |
| Oriana Graber | .... | extras costumes | |
| Brenda Knight | .... | costume cutter | |
| Kate Pierpoint | .... | costume set supervisor | |
Editorial Department | |||
| Romald Geoffery | .... | colorist (as Geoffery Antony) | |
| Romald Geoffery | .... | on-line editor (as Geoffery Antony) | |
| Luben Izov | .... | first assistant editor | |
Transportation Department | |||
| Tony Boulter | .... | driver: cable truck | |
| Kelly Charlton | .... | transport captain | |
| Joe Hermoza | .... | driver: honeywagon | |
| Laurie Morris | .... | transport coordinator | |
| Lindsay Morris | .... | driver: cast | |
| Mark Schmitke | .... | driver: hair/make-up/wardrobe | |
| Ray Waechter | .... | transport captain | |
| Sharon Whyte | .... | driver: cast | |
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*** This review may contain spoilers ***
I would like to start this review by thanking Daphne Zuniga for serving as a reference guide to exactly how much cosmetic enhancement is used by most women in Hollywood. Zuniga is a beautiful woman who's allowed herself to age more or less naturally and, as such, stands in great contrast to other actresses who've used every nip, tuck and injection they could to pass for 33 as long as they can. I mean, when you look at Zuniga in this Hallmark Channel flick and then take a look at, say, Jennifer Aniston, it becomes clear that Aniston must bathe in the blood of virgins every night. If the burden of most actors is they look too young to play grown men (I'm looking at you, 50 year old Tom Cruise), so many actresses get themselves their own Dorian Gray painting at 29 and after that, the only thing that ages on them is the look in their eyes. The result is that American pop culture has lost all sense of perspective when it comes to women and appropriate age. Whenever there's a 20something actress playing a daughter and a 40something playing the mother, there's this Judd-effect where they look more like sisters. They say there's no great roles for women over 40 but even if you came up with one, where would you find an actress who looks the part?
Putting all that aside, Mail Order Bride is a by-the-numbers romance that's effectively clichéd until it erupts like a geyser of suck at the end. Most of the movie is extremely predictable and dramatically shallow. That doesn't mean it's unenjoyable. If you like this sort of formula, watching Zuniga and Cameron Bancroft act it out is not a bad way to spend an hour. That last half hour yeesh, it is so bad. You can almost literally see the filmmakers grabbing at straws to try and keep the story going until the end credits blessedly arrive to put them out of their misery. If you can make any sort of logical sense out of the 24 hour long siege at the conclusion of Mail Order Bride, you're a lot smarter than I am.
Diana McQueen (Daphne Zuniga) is a thief in 1888 who flees from her criminal master (Greg Evigan) by impersonating a dead friend who was the mail order bride of Beau Canfield (Cameron Bancroft), a lonely rancher who has spent way too much time with his crotchety cook (Tom Heaton). Diana makes her way from Boston to a small frontier town and fools Beau for a while. He eventually figures it out and puts Diana to work as a farm hand. Then Diana's boss shows up to reclaim her, she and Beau admit they really love each other and I hope I don't shock you by admitting they live happily ever after.
Zuniga and Bancroft are perfectly charming and the relationship between their characters, while old hat, is soothingly simplistic. If you've ever seen a Hallmark Channel movie before, you pretty much know what you're getting here. Except for the finish, which gets to be almost laugh-out-loud funny at seeing all these previously random plot points brought back up just to kill time and stretch this thing out to fill two hours with commercials.
Maybe with those breaks at the end to keep the increasingly silly nature of the standoff between Diana and Beau vs. Diana's boss and his hired guns, Mail Order Bride didn't come of quite as ridiculous on TV. When you see it all run together at once, there are so many "what the hell" moments that it almost appears as if something happened to make their original ending scenes impossible to do, so the cast and crew had to improvise something else at the last minute. Whatever the reason, the last half hour of Mail Order Bridge is so bizarrely incompetent that it knocks an otherwise mediocre flick into the "skip it" pile. Unless you're doing a term paper on "Female Aging in Early 21st Century American Entertainment", that is.