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Premium Rush (2012)
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Overview
User Rating:
Your Rating:
Director:
Writers (WGA):
Release Date:
24 August 2012 (USA)
See more »
Tagline:
Ride Like Hell
Plot:
In Manhattan, a bike messenger picks up an envelope that attracts the interest of a dirty cop, who pursues the cyclist throughout the city. Full summary » | Full synopsis »
Plot Keywords:
See more »
Awards:
1 win
&
4 nominations
See more »
NewsDesk:
(708 articles)
Michael Shannon's 9 Craziest Roles
(From NextMovie. 13 June 2013, 1:00 PM, PDT)
Michael Shannon talks about finding something sympathetic in General Zod for 'Man of Steel'
(From Hitfix. 11 June 2013, 11:00 PM, PDT)
‘Runner, Runner’ Trailer: Behold the Exotic Dangers of Student Loans
(From FilmSchoolRejects. 6 June 2013, 12:30 PM, PDT)
(From NextMovie. 13 June 2013, 1:00 PM, PDT)
Michael Shannon talks about finding something sympathetic in General Zod for 'Man of Steel'
(From Hitfix. 11 June 2013, 11:00 PM, PDT)
‘Runner, Runner’ Trailer: Behold the Exotic Dangers of Student Loans
(From FilmSchoolRejects. 6 June 2013, 12:30 PM, PDT)
User Reviews:
Scenery is on the menu, and Michael Shannon has a voracious appetite!
See more (144 total) »
Cast
(in credits order)
Directed by | |||
| David Koepp | |||
Writing credits(WGA) | ||
| David Koepp | (written by) & | |
| John Kamps | (written by) | |
Produced by | |||
| Gavin Polone | .... | producer | |
| Mari-Jo Winkler | .... | executive producer (as Mari Jo Winkler-Ioffreda) | |
Original Music by | |||
| David Sardy | |||
Cinematography by | |||
| Mitchell Amundsen | (director of photography) | ||
Film Editing by | |||
| Derek Ambrosi | |||
| Jill Savitt | |||
Casting by | |||
| Pat McCorkle | |||
| John Papsidera | |||
Production Design by | |||
| Thérèse DePrez | |||
Set Decoration by | |||
| George DeTitta Jr. | |||
Costume Design by | |||
| Luca Mosca | |||
Makeup Department | |||
| Michael Harvey | .... | makeup artist | |
| Stephen Kelley | .... | makeup artist | |
| Pamela May | .... | key hair stylist | |
| Jeremy Selenfriend | .... | additional makeup artist | |
Production Management | |||
| Erica Kay | .... | unit production manager | |
| Paul A. Levin | .... | post-production supervisor | |
| Holly S. Rymon | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| G.A. Aguilar | .... | second unit director | |
| Timothy Blockburger | .... | assistant director: second unit | |
| Timothy Blockburger | .... | second second assistant director | |
| Catherine Feeny | .... | additional second assistant director | |
| Jason Fesel | .... | additional second assistant director | |
| Amy Lauritsen | .... | second assistant director | |
| Kelly Mahoney | .... | dga trainee | |
| Jessica Pollini | .... | additional second assistant director: second unit | |
| Travis Rehwaldt | .... | second second assistant director | |
| Joseph P. Reidy | .... | first assistant director | |
| Xanthus Valan | .... | assistant director: second unit | |
| Xanthus Valan | .... | second assistant director | |
| Michele Ziegler | .... | first assistant director: second unit | |
Sound Department | |||
| Jamie Baker | .... | foley editor | |
| Michael Barry | .... | sound re-recording mixer | |
| Derek Casari | .... | adr stage engineer | |
| Marko A. Costanzo | .... | foley artist | |
| Mark DeSimone | .... | adr mixer: New York | |
| Lee Dichter | .... | sound re-recording mixer | |
| Chris Fielder | .... | assistant sound editor | |
| Paul Hsu | .... | supervising sound editor | |
| Bobby Johanson | .... | adr mixer | |
| Frank Kern | .... | foley supervisor | |
| George A. Lara | .... | foley mixer | |
| Daniel McIntosh | .... | sound mixer: second unit | |
| Branka Mrkic | .... | dialogue editor | |
| Tom Nelson | .... | production sound mixer | |
| Angela Organ | .... | assistant adr editor | |
| Larry Provost | .... | sound mixer: second unit | |
| Robert A. Sacchetti | .... | boom operator (second unit) | |
| Ric Schnupp | .... | adr recordist | |
| Jason Stasium | .... | pro tools playback mixer | |
| Jason Stasium | .... | sound utility | |
| Philip Stockton | .... | supervising sound editor | |
| Paul Tirone | .... | adr recordist | |
| Deborah Wallach | .... | supervising adr editor | |
| P.J. Corvus | .... | audio technical support (uncredited) | |
Special Effects by | |||
| Fred Buchholz | .... | special effects supervisor | |
| Doug Coleman | .... | special effects foreman | |
Visual Effects by | |||
| Eva Abramycheva | .... | visual effects coordinator | |
| Brian Albury | .... | tracker/matchmover | |
| Jon Anastasiades | .... | digital compositor | |
| Graeme Baitz | .... | digital compositor: Zoic Studios | |
| Rob Bannister | .... | digital compositor | |
| Raoul Bolognini | .... | visual effects producer | |
| Kristen Branan | .... | head of production: Zoic Studios | |
| Dan Brittain | .... | digital compositor | |
| Seth Brower | .... | compositor: Scoundrel | |
| Rommel S. Calderon | .... | visual effects artist | |
| Chad J. Carbone | .... | visual effects coordinator | |
| Zach Christian | .... | matte painter | |
| Michael Cliett | .... | Visual Effects: Zoic Studios | |
| Ben Conrad | .... | creative lead | |
| Joshua Cortopassi | .... | visual effects artist | |
| Andrew G. Cox | .... | visual effects coordinator | |
| Brett Dowler | .... | visual effects producer | |
| Ryan Duffy | .... | scanning: deluxe New York | |
| Lawrence Fagan | .... | spydercam flight control | |
| Marq Faulkner | .... | cg artist: Zoic Studios | |
| Joshua Galbincea | .... | compositor | |
| Safeer Ghaznavi | .... | digital compositor | |
| Anthony Juno Han | .... | senior lighting technical director | |
| Christian Kontis | .... | digital restoration artist | |
| Seung Hyung Lee | .... | visual effects artist | |
| Colin Liggett | .... | compositing supervisor | |
| Howard Lin | .... | recruiter | |
| Nicholas Lund-Ulrich | .... | digital artist | |
| Melaina Mace | .... | texture artist: Scoundrel | |
| Chris MacKenzie | .... | smoke artist | |
| Lisa Maher | .... | visual effects producer | |
| Marco Marquez | .... | digital compositor | |
| Albert Mason | .... | visual effects producer | |
| Richard Matsushita | .... | model visual effects | |
| Mark Matta | .... | layout & matchmove artist | |
| Morgan McDermott | .... | matte painter | |
| Curt Miller | .... | on-set visual effects supervisor: Zoic Studios | |
| Mike Navarro | .... | visual effects artist | |
| Shalena Oxley-Butler | .... | visual effect coordinator: Zoic | |
| Peter Pace | .... | look development artist | |
| Rocco Passionino | .... | visual effects supervisor | |
| Christine Peterson | .... | digital compositor | |
| Tristan Porter | .... | digital compositor: Zoic Studios | |
| Rob Price | .... | digital compositor | |
| Kenton Rannie | .... | lead compositor | |
| Marco Recuay | .... | visual effects supervisor: Scoundrel | |
| Scott Rosekrans | .... | CG artist | |
| Derek Schneider | .... | visual effects artist | |
| Todd Semmes | .... | spydercam coordinator/rigging | |
| Scott Siegal | .... | visual effects producer | |
| Mark Stetson | .... | senior visual effects supervisor: Zoic Studios | |
| Caleb Thompson | .... | digital compositor | |
| J.R. Tuason | .... | visual effects coordinator | |
| Vincent Wauters | .... | visual effects supervisor: Logan | |
| Diana Marie Wells | .... | digital compositor | |
| Goran Zovkic | .... | pre-vis artist | |
Costume and Wardrobe Department | |||
| Summer Browning | .... | costumer | |
| Caitlin Doukas | .... | costume production assistant | |
| Gail A. Fitzgibbons | .... | costume supervisor | |
| Lara Greene | .... | tailor | |
| Meghan Kasperlik | .... | assistant costume designer | |
| Jill Losquadro | .... | shopper | |
| Vern Malone | .... | set costumer | |
| Angela Mirabella | .... | set costumer | |
| Catherine Riley | .... | shopper | |
| Yolanda Rodney | .... | set costumer | |
| Monica Russell | .... | set costumer | |
| Christine Schultz | .... | key costumer | |
| Martha Smith | .... | key costumer | |
Editorial Department | |||
| Steven Bodner | .... | colorist: dailies | |
| Matt Breitenbach | .... | digital intermediate assist | |
| Tom Foligno | .... | first assistant editor | |
| Louisa Forni | .... | apprentice editor | |
| Joe Gawler | .... | digital intermediate colorist | |
| Ann Gray | .... | post-production coordinator | |
| Shaina Holmes | .... | dailies project manager | |
| Carrie Puchkoff | .... | first assistant editor | |
| Jonathan Sanden | .... | digital intermediate editor | |
| Chad Schermerhorn | .... | dailies assistant | |
| Zachary A. Schwartz | .... | assistant editor | |
| Darrell R. Smith | .... | digital intermediate supervising producer | |
| Justin Tillett | .... | digital on-line editor | |
| Seth Weinman | .... | post-production technician (uncredited) | |
Music Department | |||
| Gustavo Borner | .... | score mixer | |
| Justin Moshkevich | .... | additional score mixing | |
| Nic Ratner | .... | music editor (as Nick Ratner) | |
| Mark Robertson | .... | musician contractor | |
| Jim Schultz | .... | music editor | |
| Tim Williams | .... | conductor | |
| Tim Williams | .... | orchestrator | |
Transportation Department | |||
| Patrick Hogan | .... | transportation co-captain | |
| Thomas Reilly | .... | transportation captain: second unit | |
| Gabe Turiello | .... | camera car driver | |
Production CompaniesDistributors
- Columbia Pictures (2012) (USA) (theatrical)
- Columbia TriStar Warner Filmes de Portugal (2012) (Portugal) (theatrical)
- Sony Pictures Releasing Canada (2012) (Canada) (theatrical)
- Sony Pictures Releasing (2012) (Belgium) (theatrical)
- Sony Pictures Releasing (2012) (Germany) (theatrical)
- Sony Pictures Releasing (2012) (France) (theatrical)
- Sony Pictures Releasing (2012) (Singapore) (theatrical)
- Sony Pictures Releasing (2012) (Thailand) (theatrical)
- Sony Pictures Releasing (2012) (USA) (theatrical)
- Feelgood Entertainment (2013) (Greece) (DVD) (Blu-ray)
- Sony Pictures Entertainment (2013) (Japan) (DVD)
- Sony Pictures Home Entertainment (2013) (Germany) (DVD)
- Sony Pictures Home Entertainment (2013) (Netherlands) (DVD)
- Sony Pictures Home Entertainment (2013) (Netherlands) (DVD) (Blu-ray)
- Dolby Laboratories sound mix
- Filmtools expendables
- Lightnin' Production Rentals transportation equipment
- Madison Gate Records soundtrack
- Media Programme of the European Community funding
- New York City Mayor's Office of Film, Theater & Broadcasting, The special thanks
- Scarlet Letters end titles
- Scenechronize production management software
- Sixteen19 post production services
- Sound One post-production sound services
- Tomkats Catering catering
- Trevanna Post post-production accounting
Additional Details
Also Known As:
See more »
MPAA:
Rated PG-13 for some violence, intense action sequences and language
Parents Guide:
Runtime:
91 min
Country:
Color:
Aspect Ratio:
2.35 : 1 See more »
Sound Mix:
Certification:
USA:PG-13 (certificate #46598) | Ireland:12A | South Korea:15 | Canada:14A (Ontario) | Singapore:PG13 | Portugal:M/12 | Sweden:11 | India:U/A | UK:12A | Germany:12 | France:U | Netherlands:12
Filming Locations:
Did You Know?
Trivia:
Bobby Monday's alias Forrest J Ackerman is a tribute to Forey Ackerman, noted science fiction and horror movie fan and memorabilia collector (he coined the term "sci fi" in 1959). He's had cameos in 48 movies and represented Ray Bradbury, Isaac Asimov, and Hugo Gernsback (after whom the "Hugo" award is named) as their literary agent.See more »
Goofs:
Errors in geography: When he is chased on Broadway after picking up the package he is crossing southbound by 139th street going to 125th when he is supposed to be biking south of 116th street.See more »
Quotes:
[first lines]
Wilee:I can't work in an office. I don't like wearing suits. I like to ride. Fixed gear, steel frame, no brakes. The bike cannot coast. The pedals never stop turning. Can't stop. Don't want to either. There are 1,500 bike messengers on the streets of New York City. You can e-mail it, FedEx it, fax it, scan it, but when none of that shit works and this thing has to be at that place by this time, you need us.
See more »
Wilee:I can't work in an office. I don't like wearing suits. I like to ride. Fixed gear, steel frame, no brakes. The bike cannot coast. The pedals never stop turning. Can't stop. Don't want to either. There are 1,500 bike messengers on the streets of New York City. You can e-mail it, FedEx it, fax it, scan it, but when none of that shit works and this thing has to be at that place by this time, you need us.
See more »
Movie Connections:
Featured in "Maltin on Movies: Premium Rush (#1.86)" (2012)See more »
Soundtrack:
Crown on the GroundSee more »
FAQ
This FAQ is empty. Add the first question.See more (144 total) »
Message Boards
Discuss this movie with other users on IMDb message board for Premium Rush (2012) See more »Recommendations
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company.
I'll be honest – when I first saw the trailer for Premium Rush I was a bit skeptical. I scoffed at the idea of a thriller built around the premise of a bike messenger delivering an important envelope on time. But you know what? This is one of those rare late summer releases that comes out of nowhere and entertains you way more than you could have expected.
There's no pretense here. No delusions of grandeur. No misguided Academy aspirations. Premium Rush is a film that recognizes the boundaries of its skin and is completely comfortable in it. It's simply a fun, fast, and intense 90-minute ride that's equal parts tension and comic relief.
Rather than potentially spoil any of the details, I'll let you watch the finer points of the plot unravel on screen. Multiple back-stories are told via time flashbacks, so some of the events might get lost in the translation if you're not paying close attention. What you need to know is that the essence of the film rests in following Joseph Gordon-Levitt's bike journey through the streets of Manhattan as he attempts to deliver his envelope with a scene-stealing Michael Shannon and an I-take-my-job-way-too-seriously bike cop hot on his tail.
You'll recoil and cringe as JGL weaves in and out of traffic, avoiding vehicles and pedestrians alike. You'll laugh as the aforementioned bike cop continually regroups and continues his quest. And you'll love to hate Mr. Shannon as he deftly demonstrates his character's impulse control issues.
I've always heard people say how good of an actor Michael Shannon is, but I've never really seen him in anything. I will definitely seek out more of his work after enjoying his performance in Premium Rush. His hypocritical diatribe on how disgusted he is by the lowering of today's standards had me laughing several minutes after he delivered it. I loved this guy!
I also enjoyed what I am branding the "alternate scenario cam" – whenever JGL finds himself in a tight situation, the camera shows him quickly calculating his possible routes and their potential outcomes, many of which end in hilarity and disaster for either Mr. Gordon-Levitt or an unsuspecting pedestrian.
Premium Rush keeps the pace tight and the audience engaged. The camera work forces us right in the middle of the traffic and the blaring car horns, allowing us to experience the tension both visibly and audibly.
The film's main drawback is its abundance of profanity and crass talk. The worst offenders are one f-bomb and more than 10 uses of G-d**n.
Premium Rush never takes itself too seriously, and neither should you. As long as you check your expectations at the theater door then I'm confident the majority of you will find that this film – much like its bike messenger protagonist- delivers.