| Photos (see all 7 | slideshow) |
| Clancy Brown | ... | Nash Creed | |
| Rene Carrasco | ... | Bartender | |
| T.J. Castronovo | ... | Eddie | |
| Laurie Ciarametaro | ... | Pretty Woman's Nurse | |
| Steven Culp | ... | Joel | |
| John Doman | ... | Dr. Bochman | |
| Leo Garcia | ... | Father Raul Arias | |
| Mitchell Thomas Gibney | ... | Maitre D' | |
| Rebecca Herbst | ... | Danielle Stillman | |
| Dian Kobayashi | ... | University President | |
| Alice Krige | ... | Alice Stillman | |
| Philip Lenkowsky | ... | Roy Haskel | |
| Irene Olga López | ... | Carmen (as Irene Olga Lopez) | |
| Lisa Lord | ... | Servant | |
| Robert Madrid | ... | Coyote | |
| Joe Marinelli | ... | Paolo | |
| Dan Martin | ... | Frank Donnelly | |
| Peter Onorati | ... | Nick Stillman | |
| Richard Portnow | ... | Hal Cooney | |
| Emilio Rivera | ... | Emilio | |
| Sam Robards | ... | Dr. David Bausch | |
| Christina Solis | ... | Gloria Mendez | |
| Denise Maria Toledo | ... | Marena | |
| Callan White | ... | Evelyn |
Directed by | |||
| John Harrison | |||
Writing credits(WGA) | ||
| William H. Mooney | (novel "Corazon") | |
| John Harrison | (teleplay) | |
Produced by | |||
| David R. Ginsburg | .... | executive producer | |
| Leanne Moore | .... | producer | |
| Tom Patricia | .... | supervising producer | |
| John Sutton | .... | producer (as John Sutton III) | |
Original Music by | |||
| David Bergeaud | |||
Cinematography by | |||
| Zoltán David | (director of photography) (as Zoltan David) | ||
Film Editing by | |||
| Harry B. Miller III | |||
Casting by | |||
| Melissa Skoff | |||
Production Design by | |||
| Sara Andrews | |||
Set Decoration by | |||
| Kurt Meisenbach | |||
Costume Design by | |||
| Kathleen Detoro | |||
Makeup Department | |||
| Kathleen M. Hagan | .... | assistant hair stylist | |
| Kathleen M. Hagan | .... | assistant makeup artist | |
| Angela Nogaro | .... | key makeup artist | |
| Doreen F. Schultz | .... | key hair stylist (as Doreen Schultz) | |
Production Management | |||
| Matthew David Hensley | .... | production supervisor | |
| Leanne Moore | .... | unit production manager | |
Second Unit Director or Assistant Director | |||
| Matthew J. Clark | .... | first assistant director (as Matthew Clark) | |
| Robert Lorenz | .... | second second assistant director | |
| W. Thomas Snyder | .... | second assistant director (as Tom Snyder) | |
Art Department | |||
| John Brown | .... | swing gang | |
| Zachery A. Coiteau | .... | assistant props (as Zachery Coiteau) | |
| Tony Ervolina | .... | swing gang | |
| Alan K. Harrison | .... | swing gang (as Alan Harrison) | |
| Gregg M. Hartman | .... | swing gang (as Gregg Hartman) | |
| Jeff Hay | .... | leadman | |
| Brent David Mannon | .... | property master (as Brent Mannon) | |
| Christopher Nolan | .... | swing gang | |
| Wendy Ozols-Barnes | .... | assistant property master | |
| Rob Shepps | .... | on-set dresser | |
Sound Department | |||
| Tim Drury | .... | boom operator | |
| Charles Kelly | .... | sound mixer | |
| Mac Ruth | .... | boom operator | |
| Alan Freedman | .... | adr mixer (uncredited) | |
| Jeremy Hoenack | .... | sound re-recording mixer (uncredited) | |
| Charles Kelly | .... | location sound recordist (uncredited) | |
| Michael Payne | .... | sound supervisor (uncredited) | |
Special Effects by | |||
| Geoffrey C. Martin | .... | special effects (as Geoffrey Martin) | |
| Kevin Pike | .... | special effects supervisor | |
| Arthur G. Schlosser | .... | special effects (as Art Schlosser) | |
Stunts | |||
| Pete Antico | .... | stunts (as Peter Antico) | |
| Danny Epper | .... | stunts | |
| Richie Gaona | .... | stunts | |
| Gilbert Rosales | .... | stunts | |
| Lynn Salvatori | .... | stunts | |
| Dain Turner | .... | stunts | |
| Tierre Turner | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Robert Blake | .... | second assistant camera | |
| Scott Browner | .... | camera operator: "b" camera | |
| Bill Brummond | .... | steadicam operator | |
| Ted Coakley III | .... | camera loader (as Ted Coakley) | |
| Jerry Day | .... | grip | |
| Mark Feijo | .... | electrician | |
| Jason C. Fitzgerald | .... | best boy electric (as Jason Fitzgerald) | |
| Michael Franco | .... | electrician | |
| Scott Froschauer | .... | grip (as Scott Froschouer) | |
| Chuck Gardner | .... | still photographer | |
| Craig Kvinsland | .... | dolly grip | |
| Rick Perez | .... | best boy grip (as Richard Perez) | |
| Dan Rottman | .... | key grip (as Dano Rottman) | |
| David Sammons | .... | additional second assistant camera | |
| John Scott | .... | first assistant camera | |
| Eric Smith | .... | grip | |
| Michael Weaver | .... | gaffer (as Mike Weaver) | |
| Doug Weinmann | .... | electrician (as Doug Weinman) | |
Casting Department | |||
| Barbara Harris | .... | voice casting | |
| Natalie Mink | .... | casting associate | |
Costume and Wardrobe Department | |||
| Sheryl De Paolo | .... | set costumer | |
| Jean Rosone | .... | costume supervisor | |
Editorial Department | |||
| John Stuart Bick | .... | second assistant editor | |
| Michael Wertz | .... | first assistant editor | |
Transportation Department | |||
| Joe Cosentino | .... | driver | |
| Angel Desanti | .... | driver (as Angel De Santi) | |
| Geno Hart | .... | transportation coordinator | |
| Robert Keller | .... | driver | |
| Tui Letuli | .... | transportation co-captain | |
| Steve Nickolai | .... | driver | |
| John Pellegrino | .... | driver (as John Pelligrino) | |
| Adam Pinkstaff | .... | driver | |
| Ken Plumlee | .... | transportation captain | |
| William Smallwood | .... | driver | |
| Jason Williams | .... | driver | |
| Dave Wilson | .... | driver | |
Other crew | |||
| Nellie Adami | .... | production assistant | |
| Kirsten Anderson | .... | assistant production accountant | |
| Batou Chandler | .... | key set production assistant | |
| Brian Christopher | .... | production intern | |
| Paul Emmons | .... | medic | |
| Ted Gidlow | .... | production coordinator | |
| Dr. John E. Glassco | .... | medical consultant | |
| James Lennox | .... | assistant location manager | |
| Andy Lovis | .... | production assistant | |
| Richard Midiri | .... | caterer | |
| Kathleen Mulligan | .... | script supervisor (as Kathy Mulligan) | |
| Stacy Parker | .... | assistant production coordinator | |
| Larry Ring | .... | assistant location manager | |
| Mark Romano | .... | production accountant | |
| Suzanne St. Pierre | .... | craft service | |
| Jack Tate | .... | assistant location manager | |
| Jane Chase Wells | .... | set production assistant | |
| Boyd Wilson | .... | location manager | |
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| John Q | Double Indemnity | Heart | Todo sobre mi madre | Extreme Measures |
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| IMDb Crime section | IMDb USA section | Add this title to MyMovies |
A burgeoning sub-classification of the Cinema Of Paranoia genre is that depicting illegal harvesting of organs for the purpose of transplantation, with this work being based upon an apparently unpublished novel, featuring Peter Onorati as Type A insurance fraud investigator Nick Stillman whose life is extended by a heart transplant, but whose native bent for delving into chicanery leads him into situations of personal danger for him and for his family. In spite of the success of his life-saving operation, Nick is dismayed to discover that his donor who had allegedly died at the wheel of a stolen car did not, according to his former fiancée, know how to drive, and Stillman's investigation brings suspicion toward the surgeon who performed his procedure, played by Sam Robards, and also upon Nick's wife (Alice Krige), as possible suspects engaged in highly illicit activity that may include murder. This movie made for television does not reflect any particular point of view, with didactic, politically correct motifs pushing against elements of a mystery, and only slick production values maintain a viewer's interest, particularly as the multi-themed affair becomes increasingly predictable as it wobbles to its close. Clancy Brown earns acting honours here for his well-defined performance as a villain, while Onorati, Krige and Robards each contributes an earnest turn, but there is too little cohesion in the scenario, although there is a good deal to like in the way the picture looks and sounds; Onorati, incidentally, is beat up and pummeled upon quite as often as were the private eyes of yore in noirish cinema.