Follows making of the revival of The X-Files to television after a long 13 year commercial break. Covers the bulk of creative decisions and production stories from the 6 episodes as filmed ... See full summary »
Inside the X-Files for a behind-the-scenes look at the show. Also included are interviews with the cast and creator Chris Carter, never before seen segments from the show, outtakes and a sneak preview of the upcoming feature film.
The X-Files' Lone Gunmen, their action-loving man-childish sidekick and patron, Jimmy Bond, and their sexy master thief frienemy, Yves, investigate crimes and conspiracies, often in a silly, comedic and over the top fashion.
Celebrate the enduring, powerful character of Special Agent Dana Scully, M.D, the scientific phenomenon that she inspired for young women all over the globe, and the importance of female ... See full summary »
A former FBI profiler with the ability to look inside the mind of a killer begins working for the mysterious Millennium Group which investigates serial killers, conspiracies, the occult, and those obsessed with the end of the millennium.
An exploration of how completely different the television series is from the film. The cast and filmmakers underwent quite a change in order to create the film X Files, The (1998). We are ... See full summary »
Fox Mulder (David Duchovny) and Dana Scully (Gillian Anderson) worked at the F.B.I. as partners, a bond between them that led to them becoming lovers. But now they're out of the F.B.I. and have begun new careers. Scully works as a staff physician at a Catholic hospital. Her focus these days is on a young boy with an incurable brain disease. Administration wants to give up on him. Scully, who feels a special bond with the boy, does not. Meanwhile, Mulder's focus is on clipping newspaper articles, throwing pencils into his ceiling and writing about the paranormal. Scully and Mulder are brought together as partners again when a special case requires Mulder's expertise, and Scully is prevailed upon to convince him to help. The case involves a pedophile priest who claims he is having psychic visions regarding the whereabouts of a missing F.B.I. Agent.Written by
When Scully opens Franz Tomczeszyn's rural mailbox, she reads the address of a bill for body parts and medical supplies. The address is on Bellflower in Somerset, West Virginia. Director Chris Carter's hometown is Bellflower, California. In 1869, most of the land comprising Bellflower was known as Somerset Ranch. See more »
After Dacyshyn pushes Fox's car over, the underside shows a dual exhaust. Later when Scully calls Fox, the car again has a single muffler.
In no shot does the car have a dual exhaust, including when it is pushed off the road. See more »
Do you know why we live here, the men who call this vile box of monsters home? Because we hate each other, even as we hate ourselves, for our sickening appetites.
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The end credits contain a dedication to Randy Stone who died from heart disease at age 48 in February 2007. He was head of casting at 20th Century Fox Television, was responsible for casting David Duchovny and Gillian Anderson on The X-Files (1993), and worked in casting throughout the run of the series. See more »
The DVD release includes a "Director's Cut" of the film, which runs about 4 minutes longer. According to David Duchovny, this version includes some more graphic / disturbing scenes that Chris Carter did not use in order to avoid an R-Rating. See more »
The world is a greatly changed place since the heyday of "The X-files." Back in the late 1990's the TV show was at its height and tapping into the shared fears of the day: fear of the unknown, fear of the impending millennium, and fear that something larger than us (the government or alien invaders) was up to no good. Flash forward to the year 2008 and we know all that hubbub about the millennium was for nothing, our government has been up to no good for years, and it's not space invaders we need to worry about but other people terrorizing us. The murky, gloomy, grim style of "The X-Files" is now the norm with feverish and dark films like "There Will Be Blood" and "The Dark Knight" tapping into the mindset of culture today from opposite ends of the film spectrum.
Apparently creator Chris Carter didn't realize his baby was irrelevant now. His only mission should've been to please the faithful. If he wanted to revive his series on film, he had best stick to the labyrinthine alien mythology that still has some die-hard fans buzzing, or at the very least deliver a fun stand-alone monster-of-the-week style flick that would make fans jump in their seats. With "The X-Files: I Want to Believe" he does neither of those things. Instead, he gives us a story where Mulder and Scully come out of hiding to work on a case where the FBI are using a psychic criminal priest to help locate a missing agent and track down a potential serial killer. The plot fits more into the mold of his far less popular companion series "Millennium" than it does to "The X-Files." Apparently Carter wanted to please no one except perhaps himself.
The weirdest thing about the film is that it isn't all that bad. Carter as a director lays on some decent atmosphere (with all the global-warming defying snow and some eerie nighttime shots) and creates some palpable tension as the horrors of the case grow grimmer. The chemistry between Mulder (a lazy but effective David Duchovny) and Scully (an amazingly fully ranged and emotional Gillian Anderson) is still there, and Anderson's performance is especially gripping. Billy Connolly, cast against type, gives an interesting turn as the corrupted priest searching for redemption through his visions that probably would've garnered an Emmy nod had this been a very special two-part TV episode. Also good is Amanda Peet, looking smashing in her smart FBI pantsuits.
Most interesting is the story arc given Dana Scully. I honestly had stopped watching the show after the sixth season, and aside from the mythology storyline that built up to the first film released ten years ago, I recall some of my favorite episodes being the ones where Scully questioned her faith and struggled with reconciling her Catholicism with her scientific approach to the paranormal investigations. This is again explored here, as Scully, always the skeptic, so desperately wants to believe in something. However, it's an odd choice for Carter to focus on this internal human drama when he should be focusing on how to bring fans back into the fold. It would've been an interesting and compelling layer had Carter not been so inept with the rest of the plot.
In the end some fine performances and a moody atmosphere do not add up to a good time. Eventually it becomes an uncomfortable and anachronistic creep-fest that plays like the type of suspense thriller that ruled the roost in the mid-1990's after films like "Silence of the Lambs" and "Seven" made police detection and serial killing popular entertainment. Well, it's 2008, Mr. Carter, and it's time to wake up from your prolonged nightmare that was rendered uninteresting in 2001.
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