| Alec Newman | ... | Rob | |
| Ed Speleers | ... | Ed | |
| Melissa George | ... | Alison | |
| Kate Magowan | ... | Jenny | |
| Garry Sweeney | ... | Alex | |
| Holly Boyd | ... | Anna | |
| Douglas Russell | ... | Hunter 1 | |
| Alan Steele | ... | Hunter 2 | |
| Sean Harris | ... | Mr. Kidd | |
| Stephen McCole | ... | Mr. Mcrae | |
| Karel Roden | ... | Darko | |
| Eamonn Walker | ... | Andy | |
| Paul Anderson | ... | Chris | |
| Eric Barlow | ... | Sergeant Gray | |
| Jamie Edgell | ... | House Owner | |
| Mathew Zajac | ... | Mr. Rakovic (as Matthew Zajac) | |
| Gillian MacGregor | ... | Police Officer | |
| rest of cast listed alphabetically: | |||
| Tania Chant | ... | Beltane Handmaiden (uncredited) | |
| Robert J. Goodwin | ... | Villager (uncredited) | |
| Alan Wyn Hughes | ... | Villager (uncredited) | |
Directed by | |||
| Julian Gilbey | |||
Writing credits | ||
| Julian Gilbey | (written by) and | |
| Will Gilbey | (written by) (as William Gilbey) | |
Produced by | |||
| John Capel | .... | associate executive producer | |
| Mike Facherty | .... | associate producer | |
| Mark Foligno | .... | executive producer | |
| Julian Gilbey | .... | co-producer | |
| Andrew Loveday | .... | co-producer (as Andy Loveday) | |
| Michael Loveday | .... | producer | |
| Terry Loveday | .... | executive producer | |
| Toby Richards | .... | co-producer | |
| Toby Richards | .... | executive producer | |
| David Smith | .... | associate executive producer | |
| Anne Talbot | .... | associate executive producer | |
| Gerry Toomey | .... | line producer | |
| Glenn Wheeler | .... | associate executive producer | |
Original Music by | |||
| Michael Richard Plowman | |||
Cinematography by | |||
| Ali Asad | (director of photography) | ||
Film Editing by | |||
| Julian Gilbey | |||
| Will Gilbey | (as William Gilbey) | ||
Casting by | |||
| Steve Daly | |||
Production Design by | |||
| Matthew Button | |||
Art Direction by | |||
| Daniela Faggio | |||
Costume Design by | |||
| Hayley Nebauer | |||
Makeup Department | |||
| Lorraine Hill | .... | hair designer | |
| Lorraine Hill | .... | makeup designer | |
Production Management | |||
| Jane Doughty | .... | post-production supervisor | |
| Emma Maclennan | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Scott Bates | .... | first assistant director | |
| Paul Cathie | .... | second assistant director | |
| Will Gilbey | .... | second unit director | |
| James McGeown | .... | third assistant director | |
| Norman Campbell Rees | .... | additional third assistant director | |
Art Department | |||
| Alex Abelman | .... | carpenter | |
| Joshua Baker | .... | art runner | |
| Michael Button | .... | prop maker | |
| Cathy Featherstone | .... | production buyer | |
| Luke Gledsdale | .... | assistant art director | |
| Neil Jenkins | .... | standby art director | |
| Nigel Lovett | .... | art department assistant | |
| Adam McCreight | .... | property master | |
| Scott McIntyre | .... | supervising armourer | |
| Alan Pearson | .... | hod scenic artist | |
| Marius Pogaceanu | .... | assistant property master | |
| Ben Rai-Green | .... | construction coordinator | |
| Liam Ramsden | .... | art department assistant | |
| Mark Stevenson-Ellis | .... | set dresser | |
| Alexandra Toomey | .... | stand-by props | |
Sound Department | |||
| Isobel Cope | .... | assistant re-recording mixer | |
| Naomi Dandridge | .... | adr mixer | |
| Roger Dobson | .... | supervising dialogue & adr editor | |
| Simon Epstein | .... | foley mixer & editor | |
| Marc Hope | .... | foley editor | |
| Scott Jones | .... | sound re-recording mixer | |
| Arran Mahoney | .... | sound effects editor | |
| Stefano Marchetti | .... | adr mixer | |
| Mario Mooney | .... | sound maintenance | |
| Keith Silva | .... | sound recordist | |
| Lionel Strutt | .... | adr coordinator | |
| Richard Williams | .... | foley editor | |
| Robert Karlsson | .... | dolby sound consultant (uncredited) | |
Special Effects by | |||
| Scott McIntyre | .... | special effects supervisor | |
Visual Effects by | |||
| Fawnda Denham | .... | line producer: vfx | |
| Ilamuruguselvan | .... | lead compositor | |
| Simon Kilroe | .... | visual effects artist | |
| Mike Marcus | .... | visual effects supervisor | |
| Rick McMahon | .... | compositor | |
| Molinare | .... | visual effects | |
| Collette Nunes | .... | visual effects editor | |
| Shanaullah Umerji | .... | visual effects executive producer: Molinare vfx | |
| Anthony Webb | .... | lead compositor: vfx | |
Stunts | |||
| Jamie Edgell | .... | stunt coordinator | |
| Cecily Fay | .... | stunt double | |
| Paul Lowe | .... | stunt double | |
| Belinda McGinley | .... | stunt double | |
| Chris Newton | .... | stunt double | |
| Arran Topham | .... | stunt performer | |
Camera and Electrical Department | |||
| Ayla Akdemir | .... | camera trainee | |
| Kamal Asad | .... | digital imaging technician: dailies | |
| Kamal Asad | .... | video operator | |
| Thomas Asad | .... | clapper loader: b camera | |
| David Baker | .... | lighting technician | |
| Tristan Battersby | .... | camera trainee | |
| Paul Brennan | .... | best boy | |
| Ruben Cardol | .... | gaffer | |
| Andy Dorwart | .... | key grip | |
| Woody Gregson | .... | second assistant camera | |
| Rob Hart | .... | steadicam/b camera operator | |
| Callum Just | .... | clapper loader: dailies | |
| Callum Just | .... | digital imaging technician | |
| Zack Lyon | .... | lighting technician | |
| David Penfold | .... | camera operator | |
| Tom Unwin | .... | grip | |
Casting Department | |||
| Amy Clamp | .... | casting assistant | |
| Julie Dunne | .... | casting associate | |
Costume and Wardrobe Department | |||
| Beki Bright | .... | assistant costume breakdown artist | |
| Tania Chant | .... | costume supervisor | |
| Saffron Cullane | .... | key costume stand-by | |
| Sarah Bailey Harper | .... | chief costume breakdown artist | |
| Barbara Kuznar | .... | costume maker | |
| Katie Langrick | .... | assistant costume designer | |
| Emily Newby | .... | key costume stand-by | |
Editorial Department | |||
| Michelle Cort | .... | digital film technician | |
| Tim Drewett | .... | digital intermediate technician | |
| François Kamffer | .... | digital intermediate technician | |
| Justin Lanchbury | .... | digital intermediate film consultant | |
| Becky Preston | .... | assistant editor | |
| Helen Spode | .... | assistant on-line editor | |
| Tim Waller | .... | senior colourist | |
| Katelin Westwood | .... | data transfer | |
Music Department | |||
| Christopher Nickel | .... | orchestrator | |
| Hilary Skewes | .... | musician contractor | |
| Nick Taylor | .... | score recording engineer & mixer | |
| Alison Wright | .... | music supervisor | |
| Mikael Carlsson | .... | soundtrack producer (uncredited) | |
Other crew | |||
| Laure Bregevin | .... | script supervisor | |
| Dean Crawford | .... | production assistant | |
| Matt Jones | .... | location manager | |
| Nick Leese | .... | unit publicist: Organic Marketing | |
| Norman Campbell Rees | .... | production assistant | |
| Mountain and Water Safety Specialists | .... | remote location, mountain and river safety | |
| Zelda Tinska | .... | translator: Serbian dialogue | |
| Clive Waldron | .... | production accountant | |
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| The Disappearance of Alice Creed | 16 Blocks | Shaitan | The A-Team | The Marine |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb UK section |
Yet again I am surprised by a movie that was little more than a random recording off a satellite channel. Expecting something that might be OK, I actually saw a very good movie indeed. The crazy thing is that I'd never heard of it before. I don't remember seeing any reviews of it and it certainly never had any exposure in the British press. But why? It might not be everyone's cup of tea but it's much better than the average Hollywood blockbuster that has a budget twenty times bigger than this. I have a pretty jaundiced view of the state of British film making but when I see a really good one like this then I think perhaps there is hope.
The Highland locations and the cinematography grabbed my attention right away. The plot surprised me (remember I knew nothing about it beforehand) and kept me guessing as to what genre it was. Was it a thriller, adventure film or a horror film? Could be any of these. I've subsequently read reviews that classify it as a horror film but, whilst it has elements you'd associate with horror, I wouldn't put it in that genre. This is a good thing as far as I'm concerned. If you are in a single genre then you have to follow the tropes of that genre to be true to it. If you aren't making a genre film then you have more flexibility to be different.
It isn't perfect (what film is?) One sequence seems to feature the most incompetent pair of sharpshooters ever seen in a film and some of the dialogue is difficult to make out in places. It might work on The Wire but it doesn't work in a film with little dialogue in the first place.
There are clear influences from other films and, in particular, a sequence that owes much to The Wicker Man but these are done well and add to the viewing experience.
A great British film, not a phrase you often hear from me. I just wish I'd been able to catch it in the theatre