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.
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 »
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.
Fox Mulder and Dana Scully both worked at the FBI as partners, a bond between them that led to their becoming lovers. But now they're out of the FBI 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 FBI agent.Written by
Production was kept under a tight veil of secrecy in order to keep plot details from leaking to the public prior to its release. "Done One" was the working title during filming, complete with logo. The Directors Guild production list named "Rich Tracers" as the project's attached director, an anagram of Chris Carter, the actual director's name. A fake production company name, "The Crying Box Productions," was used in work orders and information sheets. Fake scripts were produced for actor auditions. On any particular day of filming, only the pages required for that day's scenes were distributed, and were then collected and shredded at the end of the day. See more »
In the film, they refer to the Richmond "DA" who appears later. Virginia has no District Attorneys; prosecutors are Commonwealth's Attorneys. See more »
Yeah, well, it's been fun.
Scully? Nobody's gonna make you sit next to him.
Thanks, but I've already been taken for a ride. Anyway, he doesn't want me there.
I want you here.
This isn't my life anymore, Mulder. I'm done chasing monsters in the dark.
See more »
In the extended director's cut, end credits are accompanied by pictures of the person credited and other behind-the-scenes photos of the cast and crew, many of which were taken by Chris Carter. 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 »
Movin' On Up
Written by Jeff Barry and Ja'net DuBois (as Jeannette DuBois)
Performed by Ja'net DuBois (as Ja'Net DuBois)
Courtesy of Sony Pictures Television Inc.
Under license from Sony Pictures Music Group
(in Father Joe's apartment) 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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