Directed by | |||
| George Gallo | |||
Writing credits(WGA) | ||
| George Gallo | (written by) & | |
| Kevin Pollak | (written by) | |
Produced by | |||
| Gary Hellerstein | .... | associate producer (as Gary M. hellerstein) | |
| Jason Lee | .... | executive producer | |
| Christopher Mallick | .... | producer | |
| Kevin Pollak | .... | co-executive producer | |
| Giovanni Ribisi | .... | executive producer | |
| William Sherak | .... | producer | |
| Jason Shuman | .... | producer | |
| Shaliza Somani | .... | co-executive producer | |
| Brian Tyler | .... | co-executive producer | |
| Philip Waley | .... | co-executive producer | |
| Michael Weiss | .... | co-executive producer (as Michael J. Weiss) | |
| Andrew Zolot | .... | line producer: New York City | |
Original Music by | |||
| Brian Tyler | |||
Cinematography by | |||
| Anastas N. Michos | (director of photography) (as Anastas Michos) | ||
Film Editing by | |||
| Malcolm Campbell | |||
Casting by | |||
| Nancy Nayor | |||
Production Design by | |||
| Martina Buckley | |||
Art Direction by | |||
| Meghan C. Rogers | |||
| Dan Morski | (uncredited) | ||
Set Decoration by | |||
| Cindy Coburn | (as Cindy Coburn-Roth) | ||
Costume Design by | |||
| Rebecca Gregg | (as Rebecca Bentjen) | ||
Makeup Department | |||
| David Abbott | .... | makeup artist | |
| Brian Steven Banks | .... | hair stylist | |
| Beatrice De Alba | .... | department head hair stylist | |
| Gloria Ponce | .... | hair stylist | |
| Deborah Rutherford | .... | makeup department head (as Deborah Patino) | |
| Don Rutherford | .... | key makeup artist | |
Production Management | |||
| Robert Hackl | .... | post-production supervisor | |
| Philip Waley | .... | unit production manager | |
Art Department | |||
| David Aikman | .... | clearances | |
| Jason Alexander | .... | set dresser | |
| Theodore Alvarado | .... | propmaker mill foreman | |
| Dawn Ascher-Trevino | .... | art coordinator | |
| Beth Baye | .... | art department assistant | |
| Mike Childers | .... | propmaker | |
| Elizabeth Cummings | .... | graphic designer | |
| William J. Eisenberg | .... | laborer foreman | |
| Mark Fertonani | .... | propmaker | |
| Mark Haber | .... | set designer | |
| Doug Harlocker | .... | property master | |
| Samantha Humphreys | .... | art department assistant | |
| Gary B. Krakoff Jr. | .... | general foreman | |
| Gary A. Krakoff | .... | construction coordinator | |
| Sean Langdon | .... | gang boss | |
| Jack Laspada | .... | propmaker foreman | |
| Scott W. Leslie | .... | set dresser | |
| Kevin Mahoney | .... | paint foreman | |
| Melanie Mahoney | .... | paint supervisor | |
| Lyle Maves | .... | lead plasterer foreman | |
| Sam Mendoza | .... | construction stage foreman | |
| Paul Mugavero | .... | set dresser | |
| Maria Nay | .... | assistant set decorator | |
| Felice A. Pappas | .... | assistant props | |
| Felice A. Pappas | .... | property assistant | |
| Ronald Puga | .... | standby painter | |
| Caroline Quinn | .... | set designer (as Caroline Quinn-Decker) | |
| Eric Roemheld | .... | set dresser | |
| Josh Roth | .... | assistant property master | |
| Steven Seine | .... | leadman | |
| Paul Shoemaker | .... | culinary advisor | |
| Andre Sowards | .... | on-set dresser | |
| Debra R. Wilson-Duff | .... | construction accountant | |
Sound Department | |||
| Rob Ainsley | .... | dialogue editor | |
| Mike Anderson | .... | boom operator | |
| Tom Bjelic | .... | sound editor | |
| John Elliot | .... | foley artist | |
| Keith Elliott | .... | sound re-recording mixer | |
| Allan Fung | .... | supervising sound editor | |
| Mark Gingras | .... | supervising sound editor | |
| Katie Halliday | .... | sound editor | |
| Robert Maxfield | .... | sound utility | |
| Lee Orloff | .... | sound mixer | |
| Peter Persaud | .... | foley recordist | |
| Brad Thornton | .... | sound re-recording mixer | |
Special Effects by | |||
| Vincent Borgese | .... | special effects coordinator | |
Visual Effects by | |||
| Arnon Manor | .... | visual effects supervisor | |
| Roger Mocenigo | .... | main title design | |
| Roger Mocenigo | .... | visual effects artist | |
| Bradford Ralston | .... | video assist | |
| Chris Wallace | .... | digital intermediate colourist | |
Stunts | |||
| Kristina Coker | .... | utility stunts | |
| Mike Gunther | .... | action coordinator | |
| Darbi Gwynn | .... | utility stunts | |
| Garrett Hammond | .... | utility stunts | |
| Kanin Howell | .... | co-stunt coordinator | |
| Kanin Howell | .... | stunt double: Jason Antoon | |
| Norman Howell | .... | stunt coordinator | |
| Paul Lacovara | .... | stunt double: Jason Lee | |
| Jimmy N. Roberts | .... | stunt double: Giovanni Ribisi | |
| Alexander Smith | .... | utility stunts | |
| Hawk Walts | .... | utility stunts | |
| Jason Brillantes | .... | utility stunts (uncredited) | |
Casting Department | |||
| Olivia Thomas | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Karen Baird | .... | costumer | |
| Danielle Baker | .... | costumer | |
| James Barron | .... | costume production assistant | |
| Dezerri Black | .... | costume production assistant | |
| Eileen Gonzales | .... | costume assistant | |
| Amy Elise Roberts | .... | set costumer | |
| Robin Roberts | .... | costume supervisor | |
| Safi Shabaik | .... | costume production assistant | |
| Andrea Sweet | .... | key costumer | |
| Julie Thompson | .... | set costumer | |
| Jo Torngren | .... | cutter/fitter | |
Editorial Department | |||
| Natalie Acosta | .... | post-production assistant | |
| Richard Byard | .... | first assistant editor | |
| Gilbert Carreras | .... | color timer | |
| Matthew Cassel | .... | first assistant editor | |
| Kevin Downer | .... | digital intermediate editor | |
| Lee Hughes | .... | digital intermediate project manager | |
| Tom Mayclim | .... | digital intermediate scanner and recorder | |
| Dave Muscat | .... | digital intermediate editor | |
| Trevor Pickard | .... | digital intermediate scanner and recorder | |
Music Department | |||
| Tricia Holloway | .... | music supervisor | |
| Pakk Hui | .... | additional arrangements | |
| Gary Krause | .... | music editor | |
Transportation Department | |||
| Gina August | .... | production driver | |
| Shawndra Blyle | .... | van driver | |
| Eric Compton | .... | driver | |
| Dana Cuccia | .... | van driver | |
| Mac Dirosario | .... | transportation coordinator | |
| Keven Kessler | .... | driver | |
| Harold C. Lacy Jr. | .... | driver | |
| George R. Matejka | .... | driver | |
| Kenny Moore | .... | transportation captain | |
| Alan Nassaney | .... | set dec. driver | |
| Ron Poniewaz | .... | transportation captain | |
| Raymond Ruotolo | .... | set dec. driver | |
| Allen Sutton | .... | construction driver | |
Thanks | |||
| Jonathan Bell | .... | thanks | |
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| Single White Female | Disturbia | Rear Window | Bullitt | Michael Clayton |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Crime section | IMDb USA section |
The storyline sounded promising.
I don't recall where it happened exactly, but with dreadfully poor films starring otherwise decent actors, it doesn't slap you in the face right away. There is sometimes a moderately long period before you realize you are not watching a good film. Then, and sometimes this takes a little while too, you realize you are not watching a mediocre film either. Sadly, unless you are a former short-bus rider, you will finally be assaulted with the fact that you are now many many minutes into a horrible movie, and because of it's competent cast, you were deceived into watching the first act, and now are committed to seeing how the rest plays out. How foul is that? Normally, with most arse-gravy films, it's obvious and up-front. In your face. Bless them for their honesty! But films like Columbus Circle, in my opinion, are the worst types of films. By the time you realize the film has soiled-the-bed, it's too late, and you must suffer through laughably wooden acting, ham-fisted writing, and ridiculously implausible situations. A line like: "I'm getting too old for this sh!t" would have felt quite natural coming out of Giovanni Ribisi's characters mouth. The writing is legitimately that bad.
They took what sounded like a potentially new take on the cop and agoraphobic scenario, and instead used tired lines, tired clichés, and forced these very capable actors into reactions/motivations which were nearly at the level of a students film. An advanced student, to be fair. But studenty nonetheless.
If you thought Giovanni Ribisi's character, acting, and lines were laughable in Avatar, just wait. The banter between his and Selma Blair's characters on their first meeting is just pathetic, and then just gets worse. Who writes like that? Well, this buffoon does.
Guess what genius, your audience isn't entirely comprised of the overwhelmingly ignorant. But apparently you either thought they were, or, you just aren't bright enough and/or a good enough writer/director to know any better? Who knows. (Gosh, Bad Boys II was sure good though, wasn't it?) I never regarded Copycat as one of my favorite films. But by comparison, it's a masterpiece. The poorly-written, poorly-acted, poorly-directed characters in this film are just that, characters. Or rather, caricatures. To say they are not "multidimensional" would be a bowel-shakingly gross understatement. They are developed REALLY poorly as well, and you don't care much for any of them.
She, him, the neighbors...it all plays out like an experiment in being as un-subtle as you can without reaching the point at which the audience wants to throw filthy diapers at the screen. How anyone can write like this and have it actually produced, says quite a bit about how things sometimes work.
"I'm just sayin, nine years on the job and it just doesn't add up" Really? I can only suspect Giovanni was cringing while reading/delivering those lines.
And pay careful attention to Selma's Oscar-worthy acting the morning after her new neighbor is forced to spend the night there. Really??? I feel dreadful for her. But do you blame HER, or this inept and out-of-touch director/writer? It's truly a dreadful film on nearly every level. Every actor, including Bridges and Pollak, seemingly did their best to give it that "phoned-in" level of craftsmanship. And I like both of them. Not in this film though. It feels like they realized how bad it was long after they were obligated, and turned in a poor performance to spite the director/writer.
This is more then a bad film, it's a statement. It's a worst-case scenario. It shows what can happen through the sheer will and tenacity of untalented people who are operating on skill alone.
They started this horrid little ball rolling, and yet no one upstairs had the common sense to stop it? Nope.
As far as bad films go, this one is a perfect storm. If it were just another honest (and transparently) horrid film, that would actually make it seem less perverse an abomination. And if it were better, then you wouldn't be reading any of this. But it's the porridge that Goldilocks chose in terms of a film that thoroughly insults the intelligence of those who are unfortunate enough to have made it through to the end.
And the feebly executed twist was a welcome sight, since it meant the suffering was almost over.
Students, learn from this. Mindless entertainment is fine. But when it pretends to be more then what it is, or is ignorant enough not to know, it crosses the line and turns into little more then a bad lie.
As my title says, this film is a crime for which there hasn't yet been a law passed. Which is a shame.