| Joan Claybrook | ... | Herself | |
| Oliver Diaz | ... | Himself | |
| Joanne Doroshow | ... | Herself | |
| Al Franken | ... | Himself | |
| Colin Gourley | ... | Himself | |
| Connor Gourley | ... | Himself | |
| John Grisham | ... | Himself | |
| Jamie Leigh Jones | ... | Herself | |
| Stephanie Mencimer | ... | Herself | |
| Victor Schwartz | ... | Himself | |
| Wayne Slater | ... | Himself | |
| Chris Tiano | ... | Himself | |
| Alex Winslow | ... | Himself |
Directed by | |||
| Susan Saladoff | |||
Produced by | |||
| Reniqua Allen | .... | archival producer | |
| Prudence Arndt | .... | archival producer | |
| Sara Bernstein | .... | supervising producer | |
| Erin Crumpacker | .... | associate producer | |
| Carly Hugo | .... | producer | |
| Sheila Nevins | .... | executive producer | |
| Alan Oxman | .... | producer | |
| Betsy Rate | .... | associate producer | |
| Rebecca Saladoff | .... | co-producer | |
Original Music by | |||
| Michael Mollura | |||
Cinematography by | |||
| Martina Radwan | |||
Film Editing by | |||
| Cindy Lee | |||
Sound Department | |||
| Tyler Cartner | .... | sound mixer | |
| Eric Gitelson | .... | sound re-recording mixer | |
| Johnpaul Golaski | .... | sound mixer | |
| Wil Masisak | .... | sound mixer | |
| Lorenzo Millan | .... | sound mixer | |
| John Moros | .... | sound editor | |
| Jeff Seelye | .... | sound editor | |
| Matt Sheldon | .... | sound mixer | |
| Michael J. Walls | .... | sound mixer | |
| Winter | .... | sound mixer | |
Visual Effects by | |||
| Brian Oakes | .... | director of graphic design | |
Camera and Electrical Department | |||
| Steven Capitano Calitri | .... | vfx director of photography (as Steve Calitri) | |
| Jesse Dana | .... | additional cinematographer | |
| Jesse Durell | .... | assistant camera: New York Unit | |
| Laela Kilbourn | .... | additional cinematography | |
| Mark McKnight | .... | additional cinematography | |
| Ben Watts | .... | assistant camera | |
Animation Department | |||
| Louis Fox | .... | animation director | |
Editorial Department | |||
| Geof Bartz | .... | consulting editor | |
| Christopher Branca | .... | additional editor | |
| Jonathan Liebert | .... | digital cinema mastering | |
| Jamie Meyer | .... | additional editor | |
| Lukas Persson | .... | additional editor | |
| Raphael Rice | .... | additional editor | |
| Owen Rucker | .... | on-line editor | |
| Rebecca Saladoff | .... | assistant editor | |
| Caitlin Tartaro | .... | digital intermediate producer | |
| Justin B. Tolley | .... | associate editor | |
| Isaac Urwin | .... | assistant editor | |
Music Department | |||
| Kevin Bluhm | .... | music editor | |
| Joel Goodman | .... | composer: additional music | |
| Tara Hunnewell | .... | playback singer | |
| Keith Kohn | .... | music producer | |
| Alec Puro | .... | music supervisor | |
Other crew | |||
| Stacie Jones | .... | production staff: D.C. Unit | |
| Karen Shatzkin | .... | legal services | |
Thanks | |||
| Rebecca Atwood | .... | special thanks | |
| Kyle Luker | .... | special thanks | |
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| Grass | A Face in the Crowd | The China Syndrome | The Insider | Religulous |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Documentary section | IMDb USA section |
. . . and ignored them all.
Anyone who actually watched this film would know that the McDonald's case is only the first of several cases discussed in the movie. Anyone who knows about the McDonald's case would know that the injuries suffered by this 79 yr old woman were outrageous. She required skin grafts all over her crotch, most of her buttocks, and much of her upper thighs. She had third degree burns so bad she almost died. This woman was no sleaze, no con artist-- she worked her whole life.
Other reviewers seem to ignore that there has been a concerted movement by Karl Rove and his US Chamber of Commerce pals to stack the deck against individual rights in favor of corporations under the guise of "tort reform" and some of their tactics have been appalling-- and this film discusses that as well.
This film, much like Gasland, tells a story that needs to be told, and it's great that HBO has the kahunas to air it.