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Directed by | |||
| Nelson McCormick | |||
Writing credits(WGA) | ||
| J.S. Cardone | (written by) | |
Original Music by | |||
| Paul Haslinger | |||
Cinematography by | |||
| Checco Varese | |||
Film Editing by | |||
| Jason Ballantine | |||
Casting by | |||
| Lindsey Hayes Kroeger | |||
| David Rapaport | |||
Production Design by | |||
| Jon Gary Steele | |||
Costume Design by | |||
| Lyn Paolo | |||
Makeup Department | |||
| Jennifer Greenberg | .... | makeup artist | |
| Robert Hall | .... | special makeup designer: Almost Human Inc. | |
| Eryn Krueger | .... | makeup department head | |
| Mike Mekash | .... | makeup artist | |
| Debbie Mezera | .... | office manager: Almost Human | |
| Larry Waggoner | .... | hair department head | |
| Jay Wejebe | .... | key makeup artist | |
Production Management | |||
| Nicolas Stern | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Ingrid K. Behrens | .... | second second assistant director | |
| Adam Druxman | .... | first assistant director | |
| Lance Gilbert | .... | second unit director | |
| Danny Giles | .... | second assistant director: second unit | |
| James Moran | .... | second assistant director | |
| Marc Newland | .... | day player second second assistant director | |
Art Department | |||
| Claudia Bonfe | .... | set dressing buyer | |
| James W. Boyce | .... | set dresser | |
| Max E. Brehme | .... | property master | |
| Paul Cunningham | .... | set dressing gang boss | |
| David Eckert | .... | assistant art director | |
| Michael A. Heath | .... | prop paperwork | |
| Brock Helfer | .... | set dresser | |
| Vinson Jae | .... | stand-by painter | |
| Mark Kelly | .... | daily props assistant | |
| Holiday Landa | .... | art coordinator | |
| Vincent Lucido | .... | storyboard artist | |
| Brett McKenzie | .... | art department assistant | |
| John Naehrlich | .... | leadman | |
| Christopher Schultz | .... | assistant property master | |
| Trey Shaffer | .... | graphic designer | |
| Kevan Weber | .... | set dresser | |
| Christopher L. Williamson | .... | set dresser | |
Sound Department | |||
| Mark Agostino | .... | ProTools operator | |
| Willie D. Burton | .... | production sound mixer | |
| Ed Callahan | .... | sound editor | |
| Anthony J. Ciccolini III | .... | supervising sound editor | |
| Gregg Frazier | .... | boom operator | |
| Vincent Guisetti | .... | foley artist | |
| Jeffrey J. Haboush | .... | sound re-recording mixer | |
| Pamela Kahn | .... | foley artist | |
| Daniel Pagan | .... | sound effects editor | |
| Kyle Rochlin | .... | foley mixer | |
| Greg P. Russell | .... | sound re-recording mixer | |
| Lynn Sable | .... | assistant sound editor | |
| Karen Spangenberg | .... | dialogue editor | |
Special Effects by | |||
| Jason Dodd | .... | special effects foreman | |
Visual Effects by | |||
| Raoul Bolognini | .... | visual effects producer | |
| Kristen Branan | .... | head of production: Zoic Studios | |
| Trent Claus | .... | flame artist | |
| Sean Coonce | .... | digital compositor: Zoic Studios | |
| Diana Hinek | .... | digital compositor | |
| William Hyler | .... | flame artist | |
| Chris Ingersoll | .... | compositor: Flame artist | |
| Benjamin Kutsko | .... | flame artist | |
| Thomas Nittmann | .... | visual effects producer | |
| Brian Nugent | .... | flame artist | |
| Rocco Passionino | .... | visual effects supervisor | |
| Bethany Pederson | .... | compositor | |
| Madhava Reddy | .... | digital intermediate | |
| R. Matt Smith | .... | compositing supervisor | |
| Sean Tompkins | .... | visual effects coordinator | |
| Sean Wallitsch | .... | Flame artist: Lola Visual Effects | |
| Laura Elizabeth Wilcox | .... | digital compositor: Zoic Studios | |
| Edson Williams | .... | visual effects supervisor: Lola Visual Effects | |
| Ryan Zuttermeister | .... | associate visual effects producer: Lola Visual Effects | |
Stunts | |||
| Dartenea Bryant | .... | stunt double: Dana Davis | |
| Lance Gilbert | .... | stunt coordinator | |
| Cassandra McCormick | .... | stunt double: Brittany Snow | |
| Rex Reddick | .... | stunts | |
| Kym Stys | .... | stunts | |
Casting Department | |||
| Wendy Hoffman | .... | adr voice casting | |
| Anthony J. Kraus | .... | casting assistant | |
| Jeni Thornell | .... | extras casting | |
Costume and Wardrobe Department | |||
| Leoisick Castro | .... | set costumer | |
| Kenn Smiley | .... | key costumer | |
Editorial Department | |||
| George Chavez | .... | color timer | |
| Teressa Longo | .... | assistant editor | |
| Blair Miller | .... | post-production assistant | |
Music Department | |||
| Gerry Cueller | .... | music supervisor | |
| Mark Curry | .... | score mixer | |
| Greg Danylyshyn | .... | music supervisor | |
| Brian Richards | .... | music editor | |
| Boris Salchow | .... | composer: additional music | |
| Travis Smith | .... | score mixing assistant | |
Transportation Department | |||
| J. Armin Garza II | .... | driver: camera car | |
| Doug S. MacLean | .... | driver | |
| William R. Peck | .... | driver | |
| Luther Trotter | .... | driver | |
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| Disturbia | Scream 3 | He Knows You're Alone | Suspect Zero | Freeway |
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Prom Night is shot with the artistic eye someone gives while finely crafting a Lifetime original film. You know the one. This October, Lifetime takes a break from the courageous tale of a woman surviving (insert disease name here) to tell the somewhat creepy tale of a woman pursued by a stalker ex-boyfriend. It's dramatic it's sappy it's immensely dull. It does nothing to further a genre, tell an original story, or strive for ANY sort of newness. Prom Night shares this plight. Watching the killer poke holes in his victims, we sit silently as they slump to the floor with not a drop of blood spilled. It occurred to me that this was the cleanest killer in movie history.
Our director is working with a fairly good-looking killer so he is forced to pour on the camera angles to make him appear creepier. Think about Matthew McConaughey coming at you with a knife. You'd probably go "OH! Good lookin guy is going to kill me? Naaaa." Not scary even for a second, so the director throws Schaech into shadows and over the shoulder in the mirror. This mirror shot is repeated to the point of sickness as it practically becomes a fetish of the creator. You'll get 15 jump scares in this film, 2 of which made my date jump (I might mention she is afraid of EVERYTHING). I'd also mention she decided to take a nap halfway through the film and at one point threatened to leave me.
As if this film were not disjointed enough, it appears to be cut to shreds. I'm not saying it looks like key points were left on the cutting room floor as the crew scrambled to salvage some semblance of a horror film; I'm saying as the film moves from scene to scene, you often get a jarring jump. This is the kind of thing you'd expect when a film catches fire and a projectionist is forced to splice ends together, cross his fingers, and hope for the best. The editor should be shot.
With a plot you can pack into two sentences, one stray spray of blood, an emo killer, and the tension of a very special episode of "Silver Spoons", we're left with no reason to support horror this weekend at least on the big screen. In fact, this is the sort of film that should be punished. Is it really that hard to make a scary movie? Was this crew even aware they were making a horror film??!! A complete waste of my time and yours. I bit the bullet to get you this review. Don't let my sacrifice be in vain. DON'T GO INTO THE MOVIE!!!