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Red White & Blue
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Red White & Blue (2010) More at IMDbPro »

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Red White & Blue -- Trailer for Red White & Blue
Red White & Blue -- Trailer for Red White & Blue


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6.4/10   4,732 votes »
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Down 12% in popularity this week. See why on IMDbPro.
Simon Rumley (written by)
View company contact information for Red White & Blue on IMDbPro.
Release Date:
8 October 2010 (USA) See more »
Three lives... bound together in blood
A woman attracts the attention of a psychotic former Army interrogator and an emotionally fragile young man caring for his ailing mother. Full summary » | Full synopsis »
6 wins & 3 nominations See more »
User Reviews:
a horror tour-de-force, delightfully gritty & realistic See more (36 total) »


  (in credits order) (complete, awaiting verification)

Amanda Fuller ... Erica

Marc Senter ... Franki

Jon Michael Davis ... Ed

Nick Holden ... Alvin (as Nick Ashy Holden)
Patrick Crovo ... Carl
Mary Mathews ... Marj

Noah Taylor ... Nate
Julian Haddad ... Lil' Alan

Ernest James ... Nightclub Pick-Up
Jenny Gravenstein ... Druggie Rock Girl (as Jenny Graven)

Mark Hanson ... Druggie Rock Guy
Chance Hartman ... Hotel Pick-Up
Vincent Doenges ... William
Eryn Brooke ... Ed's Girlfriend
Chris Summers ... Steve
Michael Price ... Hardware Store Manager

Pete O. Partida ... Lee (as Pete Partida Jr.)
Matteson Claus ... Lil' Allan's Mom

Nicole Holt ... Erica's Mom
François Larosa ... Erica's Mom's Boyfriend (as Francois Larosa)

Sally Jackson ... Ellie
Lauren Schneider ... Sarah
Kevin LaVoie ... Arnold
Robert Sliger ... Oncologist
Emily Cropper ... HIV Clinician

Laurie Foxx ... Pamela

Saxon Sharbino ... Ed's Daughter
Joel Reynosa ... Priest
rest of cast listed alphabetically:
Jesús DeLeón-Serratos ... Two-step dancer (uncredited)
Stephanie Huettner ... Diner Patron (uncredited)

Katelyn Merricks ... Restaurant Patron (uncredited)
Rod Paddock ... Birthday Party BBQ Guest (uncredited)
Mitchell Parrack ... Doctor (uncredited)

Gary Teague ... Hotel Bar Customer (uncredited)

Directed by
Simon Rumley 
Writing credits
(in alphabetical order)
Simon Rumley  written by

Produced by
Doug Abbott .... executive producer
Blake Ethridge .... associate producer
Adam Goldworm .... executive producer
Paul Knaus .... co-producer
Tim League .... executive producer
Judy Lipsey .... executive producer
Simon Markham .... co-producer
Bob Portal .... producer
Simon Rumley .... producer
Rae Williams .... associate producer
Original Music by
Richard Chester 
Cinematography by
Milton Kam 
Film Editing by
Robert Hall  (as Rob Hall)
Casting by
Karen Hallford 
Dominika Posserén 
Production Design by
Josh Crist 
Art Direction by
Brad Mathis 
Costume Design by
Tessa Justman 
Makeup Department
Nancy Rankin Escovedo .... hair department head (as Nancy Rankin)
Nancy Rankin Escovedo .... makeup department head (as Nancy Rankin)
Meredith Johns .... makeup designer: special effects
Brandon Tesch .... hair stylist: Ms Fuller
Production Management
Reuben Goodyear .... post-production producer
Paul Knaus .... unit production manager
Second Unit Director or Assistant Director
Melissa Dalley .... second assistant director
Joseph Garza .... first assistant director
Art Department
Travis Eisenberg .... construction coordinator
Alex Hundemer .... artwork
Justin Prince .... additional artwork
John Paul Wilson .... additional artwork
Sound Department
Stephen Goldsmith .... dialogue editor
Stephen Goldsmith .... foley editor
Mike Mann .... adr recordist
Karlo Montano .... boom operator
Martin Pedersen .... sound recordist
Vincent Watts .... re-recording mixer
Vincent Watts .... supervising sound editor
Special Effects by
Meredith Johns .... key special effects makeup artist
Visual Effects by
Kai Van Beers .... colourist
Melissa Lane .... stunt double
Camera and Electrical Department
Dustin Cross .... digital imaging technician
E.J. Enriquez .... additional second assistant camera
Jeff Holman .... gaffer
David Morgan .... camera operator
Brian Nelligan .... first assistant camera
Nick Scimeca .... key grip
Jeremy Steel .... assistant camera
Casting Department
Ashley Hallford .... casting assistant
Alexis Mavromatis .... casting assistant
Costume and Wardrobe Department
Lucy Murphey .... costume assistant
Editorial Department
Michael Richard Greene .... assistant editor
Music Department
Mark Smoot .... music supervisor
Other crew
Jason D. Baskin .... production assistant (as Jason Baskin)
J.J. Castillo .... behind the scenes director and editor
Adrian Golden .... production services
Rodney Perkins .... production legal consultant
Lindsey Ashley .... thanks

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
104 min | USA:103 min
Aspect Ratio:
2.35 : 1 See more »

Did You Know?

Several scenes throughout the film emphasize the colors red white and blue.See more »


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13 out of 23 people found the following review useful.
a horror tour-de-force, delightfully gritty & realistic, 8 October 2011
Author: Fiona Webster from United States

I'n a longtime horror fan. I like my horror movies intense, bloody & down-to-earth. If they're too slick, if everything from the story & pace & acting, to the editing & sound production, slots together too perfectly, I will admire the film, but not be moved by it. I started watching "Red, White & Blue" thinking it was a "psychological suspense thriller," because that's what Netflix told me it was. Much to my delight, it's a flat-out (non-supernatural) horror movie that satisfies my taste. It's also a multifaceted revenge tragedy—a study of how one initial act of violence (the rape of 4-yr-old girl) spins out a world of suffering, which leads to many unfocused acts of revenge, one of which eventually triggers a much more pointed episode of revenge, which in turn triggers a veritable *rampage* of revenge—so well-acted & so engaging, it practically bores a hole in your brain.

One brilliant thing about this flick is that all of this takes place in a central Texas setting which is as real as the sun is hot. I'm a Texan, so I should know. Don't you hate movies that start out telling you they're located in a specific geographic locale, then some aspects of the setting—the character's accents, for example, or the license plates on cars, or a city skyline—are broadcasted so loud & clear you get sick of 'em, but many other, more telling, aspects—like the architecture of the houses or the sounds of the birds or the kinds of trees, even—are all wrong? It distracts you from your immersion in the story! This movie is just the opposite: we see a hint here, a hint there, of where the events are unfolding, but unless you recognize specific streets & buildings of one lowdown area of Austin—I didn't, because I don't know Austin that well—the fact that you're in Texas seeps rather gradually into your awareness. Even the fact that one character has an obvious tattoo of the state's outline only means that *he's* a Texan. But by the end, when a big Texas flag flapping gently in the wind in someone's front yard prompts you into a reverie about what the title of the movie signifies, you are so grounded in place, it deeply underscores the gritty, down-to-earth flavor of the whole flick. That also contributes to how the story's tragedy, while ramifying out to include dozens, even hundreds, of people, feels as tightly concentrated as a watch spring.

I must warn you that the real story you're watching—as opposed to the mere events—will also take a while to seep into your awareness. And that this can be kind of annoying. At first I thought that the film was lagging because our initial point-of-view character wasn't being very well acted. But once you understand why the character is like that, you'll appreciate the subtlety that Amanda Fuller brings to the role. Same goes for Eric Senter's character, who comes across as such an irritating dweeb he's hard to look at—and then you get *his* story.

Noah Taylor's character, on the other hand, is so fascinating from the get-go, you won't be able to take your eyes off him. He just about pops off the screen, that's how intensely he burns.

After all was said and done, I appreciated, in retrospect, the way the way the movie starts out so slow as to be almost meandering, then starts to pick up speed, accelerates some more, and then quite suddenly slams into the rampage I referred to earlier. But still, for all of the violence in Act 3, the story is never hyper: it steadily remains in the real world, where there are always occasional downshifts in a sequence of events.

The only thing I didn't like about the flick was the fingernails-on-blackboard piano music that's supposed to heighten the splatter at the end: they should've stuck with the rock-n-roll used earlier.

"Red, White & Blue" even has a denouement. How often does *that* happen? The kind of denouement that lets the flames of intense emotion die down, even lets the embers cool, before the screen goes black and the credits roll.

Simon Rumley is definitely no amateur. I'm going to be watching his next flick, that's for sure. I hope it's horror!

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