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Directed by | |||
| Sidney Lumet | |||
Writing credits(WGA) | ||
| Sidney Lumet | (written by) and | |
| T.J. Mancini | (written by) & | |
| Robert J. McCrea | (written by) | |
Produced by | |||
| Rita Branch | .... | co-producer | |
| Bob DeBrino | .... | producer | |
| Frank Digiacomo | .... | co-producer (as Frank DiGiacomo) | |
| Robert Greenhut | .... | producer | |
| Oliver Hengst | .... | executive producer | |
| Robert Katz | .... | co-producer | |
| T.J. Mancini | .... | producer | |
| Johnny Sanchez | .... | co-producer | |
| Wolfgang Schamburg | .... | associate producer | |
| Ernst-August Schnieder | .... | co-producer | |
| Bob Yari | .... | producer | |
| George Zakk | .... | executive producer (as George Vitetzakis) | |
| Roger Zamudio | .... | co-producer | |
Original Music by | |||
| Jonathan Tunick | |||
Cinematography by | |||
| Ron Fortunato | |||
Film Editing by | |||
| Tom Swartwout | |||
Casting by | |||
| Ellen Chenoweth | |||
| Susie Farris | |||
Production Design by | |||
| Christopher Nowak | |||
Art Direction by | |||
| Emily Beck | |||
Set Decoration by | |||
| Ron von Blomberg | |||
Costume Design by | |||
| Tina Nigro | |||
Makeup Department | |||
| Felice Diamond | .... | second makeup artist | |
| Kelly Gleason | .... | key makeup artist | |
| Anna Krommydas | .... | second hair stylist | |
| Erwin H. Kupitz | .... | wig fabrication: Mr. Diesel (as Erwin Kupitz) | |
| Kerrie Smith | .... | key hair stylist | |
| Christien Tinsley | .... | makeup/prosthetic artist: Mr. Diesel | |
Production Management | |||
| Bonnie Hlinomaz | .... | production supervisor | |
| Patrick Quinn | .... | post-production supervisor | |
| Louise Runge | .... | post-production manager: Yari Film Group | |
| Lucille Smith | .... | production manager | |
Art Department | |||
| Anthony Baldasare | .... | assistant property master | |
| Tom Boles | .... | key carpenter | |
| D. Eric Bryant | .... | on-set dresser | |
| Diana Burton | .... | property master | |
| Jay Dalton | .... | key construction grip | |
| Michael Finnerty | .... | construction coordinator | |
| Glenn Gertsen | .... | shop foreman (as Glenn Gertsen) | |
| Jesse Gertsen | .... | carpenter | |
| Daniel K. Grosso | .... | leadman (as Dan Grosso) | |
| Julia G. Hickman | .... | art department coordinator | |
| Ana Lombardo | .... | assistant property master | |
| Lynn Maffessoli | .... | lead scenic artist | |
| Peter Matejcyk | .... | carpenter (as Peter Matejcyk) | |
| Michele Mayas | .... | stand-by scenic artist | |
| Phil Purificato | .... | stand-by construction grip | |
| Kenneth Stopsky | .... | construction foreman (as Ken Stopsky) | |
| Jared Sturner | .... | construction grip | |
| Peter Whitney | .... | scenic shopman | |
| Rosalie Russino | .... | scenic artist (uncredited) | |
Sound Department | |||
| Coll Anderson | .... | supervising sound editor | |
| Brian Bowles | .... | adr editor | |
| Brian Bowles | .... | dialogue editor | |
| Ryan Collison | .... | foley engineer | |
| James Domorski | .... | digital recordist | |
| Robert Fernandez | .... | re-recording engineer | |
| Dan Fulton | .... | first assistant sound editor | |
| Randy Greenberg | .... | sound re-recordist: pyramix system | |
| Gregg Harris | .... | boom operator | |
| Bradford L. Hohle | .... | stereo sound consultant: Dolby | |
| Christopher Newman | .... | sound mixer | |
| Jay Peck | .... | foley artist | |
| Kira Smith | .... | utility sound technician | |
| Marilyn Teorey | .... | foley editor | |
Special Effects by | |||
| Mark Bero | .... | special effects coordinator | |
Stunts | |||
| Blaise Corrigan | .... | stunt coordinator | |
| Troy Robinson | .... | stunt coordinator | |
| Troy Robinson | .... | stunt double: Vin Diesel | |
Camera and Electrical Department | |||
| Peter Colavito | .... | electrician | |
| Christopher DeBlau | .... | electrician | |
| John W. DeBlau | .... | gaffer | |
| Christopher Dolan | .... | house electrician (as Chris Dolan) | |
| Joe Donohue III | .... | dolly grip (as Joe Donahue) | |
| Edward J. Egan III | .... | rigging grip (as Ed Egan III) | |
| Kevin Egan | .... | best boy rigging grip | |
| Ken Ferris | .... | camera operator | |
| Will Hart | .... | still photographer | |
| Thomas Landi | .... | electrician | |
| Abby Levine | .... | digital imaging technician | |
| Dave Lowry | .... | key grip | |
| Gerry Lowry | .... | dolly grip (as Jerry Lowry) | |
| Martin Lowry | .... | best boy grip | |
| Patrick Lowry | .... | grip | |
| Bruce MacCallum | .... | camera operator: "a" camera | |
| Sal Martorano | .... | electrician | |
| Justin Panzanaro | .... | rigging grip | |
| Tom Percarpio | .... | best boy electric | |
| Malcolm A. Purnell | .... | second assistant camera (as Malcolm Purnell) | |
| Patrick Quinn | .... | first assistant camera: "b" camera | |
| Chris Silano | .... | first assistant camera: "a" camera | |
Casting Department | |||
| Anne Davison | .... | casting assistant | |
| Meredith Jacobson | .... | extras casting | |
| David H. Kramer | .... | adr voice casting | |
| Barbara McNamara | .... | extras casting assistant | |
| Erin Sullivan | .... | casting: prosthetic transfer | |
Costume and Wardrobe Department | |||
| Stephanie Biear | .... | seamstress | |
| Nina Johnston | .... | set costumer | |
| Debbie Lucas | .... | seamstress | |
| Bryan Mathison | .... | wardrobe supervisor | |
| Jennifer M. Moore | .... | set costumer | |
| Chris Ann Pappas | .... | assistant costume designer | |
| Laura Steinman | .... | additional set costumer | |
| Thomas Stokes | .... | wardrobe supervisor | |
Editorial Department | |||
| Joe Gawler | .... | digital intermediate colorist | |
| Jennifer Lilly | .... | assistant editor | |
| John Portnoy | .... | post-production executive | |
| Charlie Weil | .... | post-production coordinator: Yari Film Group | |
| Charlie Wiel | .... | post-production coordinator | |
Music Department | |||
| John Carbonara | .... | music editor | |
| Richard Glasser | .... | music supervisor: Yari Film Group | |
Transportation Department | |||
| Peter Tavis | .... | transportation captain | |
| Timothy J. Wood | .... | transportation co-captain | |
Other crew | |||
| Maya Anand | .... | production assistant | |
| Laura Benson | .... | production coordinator | |
| Nicholas Bernstein | .... | location manager | |
| Devin Brittain | .... | production coordinator | |
| Daniel B. Cone | .... | production assistant | |
| Philip Douglas | .... | production assistant | |
| Steve Dubb | .... | marketing consultant: Yari Film Group | |
| David Fischer | .... | staff production assistant | |
| Kelli Gillam | .... | post-production accountant | |
| Rick Gold | .... | assistant: Neil Sacker | |
| Dana Greiman | .... | production intern | |
| Andrea Hanson | .... | assistant: Mr. Yari | |
| James Hook | .... | stand-in: Vin Diesel | |
| Catharina Hourcade | .... | production coordinator | |
| David Hutkin | .... | production financing | |
| Lilith Jacobs | .... | assistant: Mr. Lumet | |
| Marc Jacobson | .... | legal services (as Greenberg Traurig) | |
| Brian Kenyon | .... | set production assistant | |
| Jessica Lichtner | .... | script supervisor | |
| Michael J. Linowes | .... | legal counsel | |
| Sarah Lin | .... | assistant: Mr. Diesel | |
| Vincent Morano | .... | office production assistant | |
| Susan Muir | .... | completion bond | |
| Sean Oliver | .... | adr loop group | |
| John Polwrek | .... | marketing consultant: Yari Film Group | |
| Stan Purdy | .... | personal security | |
| Leslie Richards | .... | attorney | |
| Ulises Rodriguez | .... | office production assistant | |
| Eddie Ruotolo | .... | set production assistant (as Addy Ruotolo) | |
| J. Max Ruschak | .... | first assistant accountant | |
| Jonathan Russek | .... | production assistant | |
| Henri Sann | .... | production assistant | |
| Kari Scharer | .... | accountant | |
| Amy Shatsky-Gambrill | .... | assistant: Mr. Greenhut (as Amy Shatsky) | |
| Daniel Silverman | .... | film recorder | |
| Shelly Strong | .... | production executive | |
| Daniel Stutz | .... | business and legal executive: Yari Film Group | |
| Vivian Tarn | .... | production financing | |
| Greg Trattner | .... | completion bond | |
| Ian Watermeier | .... | staff coordinator | |
| Deborah Wettstein | .... | finance executive: Yari Film Group | |
| Todd Williams | .... | production executive | |
| Jelani Atu Wilson | .... | location assistant | |
| Diane Woodhouse | .... | assistant: Mr. Diesel | |
| Greer Yeaton | .... | production coordinator | |
| Tasha Zamsky | .... | animal trainer | |
| Catherine Zappa | .... | assistant: Daniel Stutz | |
| Abigail Zealey Bess | .... | assistant location manager (as Abigail Zealey) | |
| Joanna Zorick | .... | payroll accountant | |
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| Monster | Call Northside 777 | Blow | Sophie Scholl - Die letzten Tage | Let Him Have It |
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When I first heard of Sidney Lumet's unorthodox casting lead for this film, I was intrigued because Van Diesel's selection was indeed a daring move. There was little doubt Lumet would err, and he has truly come up with a sensational film and presented us with an outstanding turn by Diesel. The film would have worked and been at least a decent movie because of Lumet's expertise. Getting Diesel to take command of the screen, channel the spirit of the infamous defendant to ultimately convince the audience in both the movie and the theater audience that we were witnessing a rather unique individual.
The success of the film hangs on every single line that Diesel delivers. There is conviction and sincerity in his delivery. Here is a character that has a tarnished background, ultimately finds an outlet for a new perspective in life, and runs with it. Eventually, we get to discover he is a more powerful force than we expected.
Lumet once again shapes the film with his assured hand, allowing the actors to shine in their respective roles, not interfering with dialog that is practically taken from original transcripts by adding over-dramatic touches or unnecessary inspirational music. There are long silences when we are allowed to reflect on what is taking place in front of us. We see a situation change, witness how the players moves are changed because of unexpected twists in the story, and never is the intensity of true emotions and the power of relationships diluted by a false note. There is a superb scene between Diesel and his ex wife, in a great performance by Sciorra that is both incredibly moving and sexy. These are real people with overpowering feelings and passionate exchanges, and it all comes through because of these two performers' chemistry and electrifying delivery.
This is a film that will probably divide its audiences, depending on what you think of the defendant and his connections, but most people will probably agree that a star has been born, and with the support of a masterful director, we can see that he deserves to have a long and fruitful career in front of him. Many people heaped praise on Hoffman not too long ago. I felt Diesel outdid Hoffman because this time the gimmick and the make up felt apart by the soulful approach of a real actor.