Mission to Mars
USA 2000
Reviewed by Philip Strick
Synopsis
Our synopses give away the plot in full, including surprise twists.
June 2020. Following the sudden death of his wife Maggie, astronaut Jim McConnell is replaced by Luke Graham as commander of Mars One, NASA's first manned flight to Mars. Landing 13 months later, Luke and his team report to Ray Beck at Mission Control that they plan to investigate a mysterious mountain in the Cydonia region. As they approach, the mountain explodes, killing Luke's colleagues. He manages one last scrambled message before being stranded on the planet with the mountain's secret, a vast sculpted face.
NASA rushes the completion of Mars Two for a hastily assembled rescue mission, headed by Woody Blake, who insists on Jim McConnell as his co-pilot. Completing the team are Woody's wife Dr Terri Fisher and mission specialist Phil Ohlmyer. A year later, they reach Martian orbit but the ship is wrecked by meteorites. During their transfer to Mars One's resupply module, Woody drifts uncontrollably away. Rather than burn up in the Martian atmosphere he removes his helmet and dies instantly.
Reaching Luke's encampment beside Mars One's ERV (Earth return vehicle) the Mars Two survivors find Luke alive in a makeshift greenhouse. Studying the information he has assembled about the giant face, they theorise the structure has been broadcasting the equivalent of a DNA pattern. When they respond, an entrance suddenly opens. They venture inside the face, discovering a breathable atmosphere and a huge hologram of the solar system. A holographic alien 'guide' shows how, following a cataclysmic meteor impact in the distant past, most of the original Martians escaped to a remote galaxy. A few came to Earth, evolving over millions of years into the human race. Accepting the invitation to go "home", Jim is absorbed into the Martian ship stored inside the face and hurtles away into space. Terri, Luke and Phil set out on their return journey.
Review
Originally spotted in 1976 by a Viking probe, the Face of Cydonia was identified as either an accident of lighting or a giant Martian artefact, according to preference. Especially when computer-enhanced, the Face demanded investigation no matter how many later probes recast it into the random dunes of its origin. Now that the Moon, while not exactly trodden flat, has become familiar and mundane, not a monolith in sight, it must suit NASA's ambitions and budgeting to encourage hints of fresh mysteries on the red planet where (regardless of such base parodies as Paul Verhoeven's Total Recall or Tim Burton's Mars Attacks!) signs of ancient wisdom might yet be uncovered.
While the end credits of Mission to Mars absolve NASA of any blame for the film's contents, there's a detectable element of self-promotion here, counterbalancing the dismal record of failures among the Mars missions so far. Although the physical NASA presence is confined to a glum, uncredited Armin Mueller-Stahl, the astronauts themselves embody all the heroism and resourcefulness of updates from The Right Stuff, while the grandeur of the space walks and planetary exploration sequences is like an exotic travel commercial, a refurbished Destination Moon to inspire a new generation of stargazers.
The irony of this vivid and highly pleasing display is that it embroiders and disguises a whole string of disasters, a process not without precedent in director Brian De Palma's work. Much of the story, in fact, happens offstage (such as the gaps between the opening Fourth of July picnic, the reunion months later and the entire flight of Mars One), leaving us simply with selected highlights and cryptic references to what we haven't seen. Such abbreviations lead to an increasing puzzlement. Setting aside the delicate question as to how the presence of a married couple would affect unmarried crew members over a six-month confinement, there are symptoms of screenwriters' desperation in the business of Mars Two's vulnerability to a single burst of meteorites, and the seemingly effortless repair of what remains of Mars One.
Above all, the film's splendidly sculpted face - which, as will be expected by all post 2001: A Space Odyssey (1968) observers, does indeed contain an alien message - remains crammed with unyielded secrets. It can't have been left by the original Martians as its educational video about evolution is too recent, although the surface was presumably carved sufficiently long ago to become deeply buried. The few Martians (who sensibly aimed for Earth instead of perversely undertaking the unimaginably arduous trip to some distant galaxy) seem in any case to have been fish-like, contriving with remarkable enterprise to evolve into dinosaurs and human beings by way of the buffalo. Now slightly resembling Disney cats and capable of shedding gentle tears, they are understandably silent amid the bedlam of Morricone's soundtrack. Their open invitation to join them among the stars, however, involves a preliminary drowning (a debt here to The Abyss) and is consequently rather less persuasive than the similar offer made to the pensioners of Cocoon.
That it is accepted nonetheless by Jim (Gary Sinise, well qualified to space out thanks to Apollo 13) gives the whole affair some kind of circularity, although De Palma was clearly thwarted from using some alien miracle to resurrect Jim's lost wife (too much like Contact). Instead, the departing spaceman is given glimpses from the film's earlier scenes, ending with a close-up of his wife giving a speech about life reaching for life. Combined with the spurious urgency of a threatened tempest, Mission to Mars concludes ingloriously with the catchphrase, "Have a great ride, Jim", a curious trivialisation of what could have been a memorable adventure. There's some throwaway fancy camerawork at the beginning and a repeat of his shock-shot trick from Raising Cain, but otherwise De Palma's own ride appears to be largely on autopilot, at its best when floating in space and when the cast is cavorting upside down to Van Halen's 'Dance the Night Away'. Whether the Face-makers have anything comparable remains to be seen.
Credits
- Director
- Brian De Palma
- Producer
- Tom Jacobson
- Screenplay
- Jim Thomas
- John Thomas
- Graham Yost
- Story
- Lowell Cannon
- Jim Thomas
- John Thomas
- Director of Photography
- Stephen H. Burum
- Editor
- Paul Hirsch
- Production Designer
- Ed Verreaux
- Music/Music Conductor/
Orchestrations - Ennio Morricone
- ©Touchstone Pictures
- Production Companies
- Touchstone Pictures presents a Jacobson Co. production
- Executive Producer
- Sam Mercer
- Co-producers
- David Goyer
- Justis Greene
- Jim Wedaa
- Associate Producers
- Ted Tally
- Chris Soldo
- Jacqueline Lopez
- Production Controller
- Allen E. Taylor
- Supervising Production Co-ordinator
- Lynn Andrews
- Production Co-ordinators
- Anita Meehan Truelove
- 2nd Unit Jordan:
- Todd Lachniet
- Jordan Production Services
- International Traders
- Unit Production Manager
- Heather Meehan
- Location Managers
- Connie Kennedy
- 2nd Unit, Jordan:
- Richard Sharkey
- Location Co-ordinator
- 2nd Unit, Jordan:
- Joseph Milijian
- Post-production Supervisor
- Kendall McCarthy
- Visual Playback Supervisor
- Doug De Grazzio
- 2nd Unit Director
- Eric Schwab
- Assistant Directors
- Chris Soldo
- Paul Barry
- David Footman
- Berengaria Tomkies
- 2nd Unit Jordan:
- Edward Licht
- 2nd Unit Vancouver:
- John Woodward
- Tracey Poirier
- Mark Currie
- Script Supervisors
- Portia Jacox
- 2nd Unit, Vancouver:
- Lorelei Kuchera
- Casting
- Denise Chamian
- Canada:
- Stuart Aikins
- Associates:
- Kara Katsoulis
- Stacie Goodman
- Canada, Associate:
- Sean Cossey
- Loop Group:
- Sondra James
- Directors of Photography
- 2nd Unit, Jordan:
- Steven Poster
- 2nd Unit, Vancouver:
- Michael Lonzo
- Camera Operators
- Gordon Hayman
- Doug Craik
- Steadicam Operator
- Larry McConkey
- Visual Effects
- Supervisors:
- Hoyt Yeatman
- John Knoll
- Producer:
- Jacqueline Lopez
- Co-ordinator:
- Jodi Birdsong
- Editors:
- Melissa Bretherton
- Richard Friedlander
- Alien Character Design Supervisor
- Jeff Mann
- ILM Character Design Group
- Mark Moore
- Benton Jew
- Michael Brunsfeld
- Special Visual Effects/Animation
- Industrial Light & Magic
- Visual Effects Producer:
- Sandra L. Scott
- Co-visual Effects Supervisor:
- George Murphy
- CG Supervisors:
- Patrick T. Myers
- Christophe Hery
- Visual Effects Art Director:
- Alex Laurant
- Compositing Supervisor:
- Dorne Huebler
- CG Animation Supervisor:
- Dennis Turner
- CG Sequence Supervisors:
- Howard Gersh
- Samir Hoon
- Sean Schur
- CG Model Supervisor:
- Tony Hudson
- Digital Colour Timing Supervisor:
- Bruce Vecchitto
- Lead Development CG Artist:
- Craig Hammack
- Computer Graphic Artists:
- Michael Baltazar
- Dugan Beach
- Kathleen Beeler
- David Deuber
- Lindy De Quattro
- Vincent De Quattro
- Jeff Ertl
- Raúl Essig
- Christian Foucher
- Indira Guerrieri
- Mark Hamilton
- Andrew Hardaway
- Russell Koonce
- Erik Krumrey
- Jeroen Lapre
- Robert Marinic
- Doug MacMillan
- Michael Min
- Jennifer Nona
- Khatsho Orfali
- Bruce Powell
- Kimberly Ross
- Alan Rosenfeld
- Frederic Schmidt
- Jeff Shank
- Doug J. Smith
- John Stillman
- Doug Sutton
- Andy Wang
- Lead Compositors:
- Tom Rosseter
- Jeff Doran
- Digital Compositors:
- Jeffrey Arnold
- Pat Brennan
- Colin Campbell
- Jay Cooper
- Robyn Crane
- Scott David
- Jim Hagedorn
- Sean Mackenzie
- Irina Miloslavsky
- Myles Murphy
- Julie Neary
- R.D. Wegener
- Lead Animator:
- Patrick Bonneau
- Animators:
- Aaron Pfau
- Mark Powers
- Kim Thompson
- Lead Digital Modeller, Martian:
- George Aleco-Sima
- Digital Modellers:
- Andrew Cawrse
- Larry Tan
- Lead Viewpaint Artist:
- Jean-Claude Langer
- Viewpaint Artists:
- Bridget Goodman
- Terry Molatore
- Lead Sabre Computer Graphics Artist:
- Chad Taylor
- Sabre Computer Graphics Artists:
- Okan Ataman
- Don Butler
- Grady Cofer
- Caitlin Content
- Kela Hicks
- Kevin May
- Catherine Tate
- Alex Tropiec
- Dean Yurke
- Rita Zimmerman
- Digital Artists:
- Shadi Almassizadeh
- Billy Brooks
- Erich Ippen
- Louis Katz
- Craig Lyn
- Evan Pontoriero
- Colie Wertz
- Digital Matte Artists:
- Brian Flora
- Jett
- Mark Sullivan
- Wei Zheng
- 3D Camera Matchmover Supervisor:
- Alia Agha
- Lead Digital Paint Artist:
- Mike Van Eps
- Digital Paint/Rotoscope Artists:
- Lance Baetky
- Katie Baird
- Michaela Calanchini
- Kelly Fischer
- Justin Graham
- Cameron Griffin
- Siobhan Lo
- Aaron Muszalski
- Zachary Sherman
- Chief Model Maker:
- John Goodson
- Model Makers:
- Richard Miller
- Lorne Peterson
- Visual Effects Plate Co-ordinator:
- Margaret Lynch
- Visual Effects Production Co-ordinators:
- Julie Creighton
- Marc Sadeghi
- Visual Effects Editor:
- Bill Kimberlin
- Scanning Supervisor:
- Josh Pines
- Scanning Operators:
- Mike Ellis
- Joseph Goldstone
- Todd Mitchell
- Digital Plate Restorations:
- Maria Goodale
- Stephanie Taubert
- Alan Travis
- Director of Photography:
- Patrick Sweeney
- Temp Visual Effects Producer:
- Heather MacDonald
- Temp Visual Effects Co-ordinator:
- Jeanmarie King
- Technical Support:
- Tim Fortenberry
- Tim Greenwood
- John Hanson
- Dawn Martin
- Jim Milton
- Masi Oka
- Angela Taylor
- ILM Senior Staff:
- Gail Currey
- Jim Morris
- Visual Effects
- Dream Quest Images
- Visual Effects Producer:
- Rae Griffith-Gagnon
- Co-visual Effects Producer:
- Kristina Reed
- Digital Producer:
- Robert Schajer
- Production Manager:
- Crys Forsyth-Smith
- Production Co-ordinator:
- Mandy Kisthardt-Tankenson
- Digital Effects Supervisor:
- Darin Hollings
- Digital Compositing Supervisor:
- Blaine Kennison
- Animation Supervisor:
- Matthew O'Callaghan
- CG Supervisors:
- Scott Gordon
- Teddy Yang
- Senior Animators:
- John Murrah
- Steve Yamamoto
- Animators:
- Steve Ziolkowski
- Thanh 'John' Nguyen
- Senior Lighters:
- Mark Siegel
- Colin Eckart
- Adolph Lusinsky
- Lighters:
- Steven Knotts
- Brian LaFrance
- Chu Tang
- Richard Liukis
- Mark Lefitz
- Francis P. Liu
- Supervising Effects Animator:
- Bruce Wright
- Hookah Effects Animators:
- Kee Nam Suong
- Dale Mayeda
- Steven Blakey
- Alec Bartsch
- Senior Effects Animators:
- David Wainstain
- Brian Lutge
- Kevin Lee
- Effects Animators:
- Harry Gundersen
- Simon O'Connor
- Eric Pender
- Rodney McFall
- Erich Turner
- Ron Arredondo
- Scott Kilburn
- Cesar Velazquez
- Jason MacLeod
- Merrick Rustia
- Kenneth Kurras
- Kenji Sweeney
- 3D Tracking Lead:
- Louis Flores
- 3D Trackers:
- Jon Aghassian
- David Sudd
- John Giffoni
- Erin Fujioka
- Modellers:
- Hiroki Itokazu
- David Mooy
- Ardie Johnson
- Supervising Compositor, Vortex Sequence:
- Saki Mitchell
- Lead Compositors:
- Gina Warr-Lawes
- Rory Hinnen
- Dan Levitan
- Senior Compositors:
- Amy Pfaffinger
- John Huikku
- Brian Adams
- Marc Scott
- Tony Noel
- Compositors:
- Charles Meredith
- Deborah Wiltman
- Michael F. Miller
- Kim O'Donnell
- Lisa Tse
- Daniel Miller
- Brian Connor
- Judith Bell
- Gary Jackemuk
- Jammie Friday
- Daryl Klein
- Roto/Digital Paint Artists:
- Barbara Bordo
- Kent Gordon
- Frank Maurer
- Marian Rudnyk
- Doyle Smith
Matte Painting TD:- Kevin Willmering
- Matte Painting Set Up:
- Eric Hansen
- Matte Painters:
- Allen Battino
- Paolo Deguzman
- Roger Kupelian
- Richard Mahon
- Additional Matte Paintings/Composites:
- Robert Scifo
- Digital Co-ordinators:
- Michael 'Makul' Wright
- Deborah A. Nikkel
- Kerry Shea
- I/S Digital Co-ordinator:
- Kathryn Liotta-Couture
- Software TD:
- Ron Moreland
- Hookah Software Development:
- Lewis Siegel
- James Callahan
- John Lewis
- Digital Colour Timers:
- Jay Cox
- Elizabeth Cotter
- Scanning/Recording Technicians:
- David Booth
- Mark Canas
- Rick Lopez
- Digital Systems Administration:
- James Healy
- John Kennedy
- Kyle Kirkland
- Rik Bomberger
- Zachary Stokes
- Roy Erickson
- Paul Takahashi
- Visual Effects Editor:
- Kathy Chasen-Hay
- Art Director:
- Peter Lloyd
- Illustrators:
- Jamie Rama
- Collin Grant
- Arthur Lee
- Pre-visualization Animation:
- Adam Dotson
- Gail Harlow
- Corey Hels
- Erick Schiele
- Bob Arvin
- Director of Miniature Photography:
- Scott Beattie
- Stage Production Manager:
- Carlton Ashley
- Machine Shop Supervisor:
- Reza Kasravi
- Visual Effects Plate Manager:
- David P. James
- Motion Control Operator:
- Kevin Fitzgerald
- Survey Lead:
- Matt Mueller
- High Speed Director of Photography:
- Michael Talarico
- Special Effects Co-ordinator:
- John Gray
- Reelistic F/X
- Special Effects Lead:
- Chris Johnson
- High-Speed Production Manager:
- Keith B. Johnson
- High-Speed Production Co-ordinator:
- Vera Wagman
- Miniature Effects Supervisor:
- Scott Schneider
- Miniature Effects Art Director:
- George Trimmer
- Mechanical Engineering Designer:
- Robert Spurlock
- CAD Designer:
- Andre Chantreuil
- Model Makers:
- David Beasley
- Eric Coon
- Mykel Denis
- Thomas Griep
- Brent Heyning
- Patrick Hinkle
- John Hoffman
- Eric Krogh
- Logan Payne
- Nicholas Seldon
- Richard Slifka
- Roy Stephens
- Tamara Waters
- Alex Watts
- Kurt Zendler
- Model Shop Department Manager:
- Tony Meininger
- Model Shop Co-ordinators:
- Warren Farina
- Lupe Cabrera
- Special Visual Effects/Animation
- Tippett Studio
- Visual Effects Supervisor:
- Brennan Doyle
- Visual Effects Producer:
- Alonzo Ruvalcaba
- Associate Visual Effects Supervisor:
- Eric Leven
- Visual Effects Animation Lead:
- Tim Teramoto
- Visual Effects Animators:
- Matt Hightower
- Michael A. Miller
- Stephanie Modestowicz
- Visual Effects Software Development:
- Darby Johnston
- Animation Lead:
- Eric Ingerson
- Animators:
- Simon Allen
- Robin Watts
- Digital Paint Supervisors:
- Joel Friesch
- John McLaughlin
- Sara Simon
- Lighting Supervisor:
- Mark Fattibene
- Compositing Supervisor:
- Jim McVay
- Compositors:
- Charles Granich
- Zoe Peck-Eyler
- Colin Epstein
- Matt Jacobs
- Guerdon Trueblood
- Match Move Supervisor:
- Chris Paizis
- Match Move:
- Dan Sukiennik
- Roto:
- Garrett Honn
- Jaynèe Howe
- Jeff Johnson
- Demetrius Leal
- Lead Visual Effects Co-ordinator:
- Alessandra De Souza
- Visual Effects Co-ordinators:
- Carol Corwin
- Marty Holthaus
- Visual Effects Editor:
- Kevin Rose-Williams
- Visual Effects General Manager:
- Jules Roman
- Additional Visual Effects
- CIS Hollywood
- Executive Visual Effects Producer:
- C. Marie Davis
- Visual Effects Supervisor:
- Dr Ken Jones
- Digital Compositing Supervisors:
- Suzanne Mitus-Uribe
- Gregory Ochler
- Digital Paint/Rotoscoping:
- Larry Gaynor
- Visual Effects Producer:
- Laurie McDonald
- Digital System Manager:
- Kit Young
- Digital System Co-ordinator:
- Adam Young
- Visual Effects Editor:
- Amy Tompkins
- Wire Removal
- Jim Henson's Creature Shop
- The Orphanage LLC
Special Effects- Supervisor:
- Gary Elmendorf
- Co-ordinator:
- Randy Shymkiw
- Foremen:
- David Heron
- William Kennedy
- Terry W. King
- Roland Loew
- Mark Obedzinski
- Lead Fabricator:
- Glen Marinello
- Technicians:
- Jay King
- Thomas Pahk
- Dan Clarke
- Chris Davis
- George Diamesis
- Christian Eubank
- Steven Ficke
- Dennis Galozo
- David Glendron
- Marty Huculiak
- Joseph Judd
- Ian Korver
- Wayne Magnison
- Brian Nakazawa
- Bryan Phillips
- Alan Rifkin
- Derrick Rockhill
- Robert Rockhill
- Walter Shemly
- William Shourt
- John Sleep
- Grant Smith
- Terry Wadd
- Mike Wever
- Vehicle Fabrication
- Trans FX
- Phil Weisgerber
- Alessandro Zezza
- Darryl Grijalva
- Nathan Hranek
- Jason Pope
- Jay Brett
- Max Dugal
- Danny Long
- Travis Ridgeway
- Kirk Swanson
- Curt Engelmann
- Edmond Griswald
- Allen Pike
- Charley Zurian
- Hollis Hedrich
- Spacesuits
- SpaceProps.com
- Project Manager:
- Jim Adamson
- Design Manager:
- Laurel Adamson
- Shop Supervisor:
- Scott Theis
- Model Design:
- Matthew James
- Prop Maker:
- Stephen Tyler
- Electronic Control
- Panels
- Iguana
- Graphics
- Leah Hong
- Display Graphic Engineer
- Brian Callier
- Computer Playback
- Scott Steyns
- Rey Astronomo
- On-set Visual Technicians
- Jordon Kidston
- Caius Man
- Additional Graphics
- Trollbäck & Company
- Art Directors
- Thomas Valentine
- Andrew Neskoromny
- Set Designers
- Peter Clemens
- Janice Clements
- John Dexter
- Gary A. Lee
- Kathleen Morrissey
- Richard Reynolds
- Marco Rubeo
- Domenic Silvestri
- Carl Stensel
- Chris Stewart
- Suzan Wexler
- Set Decorator
- Lin MacDonald
- Conceptual Artist
- Syd Mead
- Technical Illustrator
- Tim Flattery
- Technical Designer
- Kim Bailey
- C.G. Illustrator
- Timothy Wilcox
- Illustrators
- James Clyne
- James Martin
- Oliver Scholl
- Storyboard Artist
- Gabriel Hardman
- Costume Designer
- Sanja Milkovic Hays
- Costume Supervisor
- Garet Reilly
- Costume Co-ordinator
- Diana Patterson
- Set Supervisor
- Donna Cristiano
- Key Make-up
- Charles Porlier
- Special Effects Make-up Design
- KNB EFX Group Inc
- Greg Nicotero
- Scott Patton
- Jake Garber
- Luke Khanlian
- Key Hairstylist
- Kandace Loewen
- Main/End Titles Designer
- Nina Saxon/New Wave Entertainment
- Opticals
- Cinema Research Corp
- Executive in Charge of Music, Buena Vista Motion Picture Group
- Kathy Nelson
- Music Producer
- Enrico DeMelis
- Music Editors
- Suzana Peric
- Nick Meyers
- Score Recordist/Mixer
- Dan Wallin
- Soundtrack
- "Happy Birthday to You" by Mildred J. Hill, Patty S. Hill; "Ma 'tit fille" by Stanley Dural Jr, performed by Buckwheat Zydeco; "Dance the Night Away" by Edward Van Halen, Alex Van Halen, Michael Anthony, David Lee Roth, performed by Van Halen
- Choreography
- Adam M. Shankman
- Sound Mixer
- Rob Young
- Technical Engineer
- Avi Laniado
- Re-recording
- Tom Fleischman
- Robert Fernandez
- Lon Bender
- Re-recordists
- Bob Olari
- Paul Coburn
- Supervising Sound Editors
- Lon E. Bender
- Maurice Schell
- Dialogue Editors
- Richard P. Cirincione
- Laura Civiello
- Lou Cerborino
- Eytan Mirsky
- Sound Effects Designers
- Tony Lamberti
- Harry Cohen
- Dino DiMuro
- Jon Title
- Sound Effects Editors
- Randy Kelly
- Perry Robertson
- Kerry Carmean
- ADR
- Mixers:
- David Boulton
- Jeff Hamon
- Supervising Editors:
- Harriet Fidlow
- Chris Jargo
- Editor, New York:
- Gina R. Alfano
- Gerald Donlan
- Editors, Los Angeles:
- Laura Graham
- Dan Hegeman
- Foley
- Walkers:
- Jim Moriana
- Jeff Wilhoit
- Recordist:
- Greg Zimmerman
- Mixer:
- Nerses Gezalyan
- Supervising Editor:
- Glen T. Morgan
Editor:- Craig Jaeger
- Consultants
- David R. Scott
- Robert Zubrin
- Technical Consultants
- Story Musgrave
- Joseph P. Allen
- Matt Golombek
- Stunt Co-ordinators
- Jeff Habberstad
- Vancouver:
- Melissa R. Stubbs
- Cast
- Gary Sinise
- Jim McConnell
- Don Cheadle
- Luke Graham
- Connie Nielsen
- Terri Fisher
- Jerry O'Connell
- Phil Ohlmyer
- Kim Delaney
- Maggie McConnell
- Tim Robbins
- Woody Blake
- Peter Outerbridge
- Sergei Kirov
- Kavan Smith
- Nicholas Willis
- Jill Teed
- Renée Coté
- Elise Neal
- Debra Graham
- Marilyn Norry
- Freda Perry
- Lynda Boyd
- Patricia Harras
- NASA wives
- Robert Bailey Jr
- Bobby Graham
- Chaynade Knowles
- Jeff Ballard
- Anson Woods
- Britt McKillop
- Jillian Hubert
- children at party
- Jody Thompson
- Lucia Walters
- Pamela Diaz
- pretty girls
- Sugith Varughese
- 2nd Capcom
- Story Musgrave
- 3rd Capcom
- Mina E. Mina
- Carlo Rota
- ambassadors
- Dmitry Chepovetsky
- technician
- Tracy Waterhouse
- sobbing technician
- McCanna Anthony Sinise
- young Jim McConnell
- Chantal Conlin
- young Maggie
- Jukka Joensuu
- priest
- Bill Timoney
- computer voice
- [uncredited]
- Armin Mueller-Stahl
- Ray Beck
- Certificate
- tbc
- Distributor
- Buena Vista International (UK)
- tbc feet
- tbc minutes
- Dolby Ex/SDDS/DTS Digital sound
- In Colour
- Prints by
- Technicolor
- Anamorphic [Panavision]