Santana's Prisoner
Keri Hilson
Lockspur
Raoul Max Trujillo
Consort
Charlie Marie Dupont
Original Music Composer
Graeme Revell
Supervising Sound Editor
Scott Martin Gershin
Creature Design
Patrick Tatopoulos
Special Effects Technician
Guillaume Murray
Production Design
Joseph C. Nemec III
Sound Re-Recording Mixer
Marc Fishman
Foley Artist
Andy Malcolm
Special Effects Supervisor
Ryal Cosgrove
Director of Photography
David Eggby
Rigging Gaffer
Gilles Fortier
Visual Effects Supervisor
Ryan Epp
Executive Producer
George Zakk
Producer
Samantha Vincent
Executive Producer
Samantha Vincent
Costume Supervisor
Linda Leduc
Makeup Department Head
Adrien Morot
Construction Coordinator
Alain Brochu
Camera Operator
François Daignault
VFX Editor
Jennifer Pearson
Executive Producer
Mike Drake
Still Photographer
Jan Thijs
Sound Recordist
Patrick Rousseau
Assistant Hairstylist
Susan Sloan
Set Decoration
David Laramy
Hairstylist
Ghislaine Sant
Supervising Art Director
Jean-Andre Carriere
Visual Effects Supervisor
Alain Lachance
Visual Effects Producer
Marc A. Rousseau
Second Assistant Camera
Isabelle Lecompte
Costume Design
Simonetta Mariano
Production Accountant
Vicki L. Sawyer
First Assistant Editor
Blake Harjes
Camera Trainee
Etienne Didelot-Pothier
Sound Editor
Jonathan Rego
Visual Effects Coordinator
Charles-David Deschenes
Costume Supervisor
Suzanne Canuel
Hair Department Head
Michelle Côté
Script Supervisor
Elizabeth Tremblay
Dialogue Editor
Margit Pfeiffer
Sound Designer
Tim Walston
Art Department Production Assistant
Jean-Philippe Carignan
Special Effects Technician
Andy Antoine
Special Effects
Marc Reichel
Sound Re-Recording Mixer
Christian P. Minkler
Digital Intermediate Producer
Bruce Lomet
Sound Editor
Karen Vassar Triest
Sound Effects Editor
Kris Fenske
Property Master
Simone Leclerc
Boom Operator
Maxime Ferland
Visual Effects Supervisor
Tim Carras
Visual Effects Producer
Joshua D. Comen
Construction Coordinator
Michel Brochu
Visual Effects Coordinator
Jessica Newhouse-Smith
Best Boy Electric
Dan Goyens
Visual Effects Producer
Persis Reynolds
Visual Effects Producer
Julia Neighly
Visual Effects Supervisor
Nordin Rahhali
Key Makeup Artist
Nicole Lapierre
Visual Effects Supervisor
Pierre-Simon Lebrun-Chaput
Supervising Sound Editor
Becky Sullivan
Sound Designer
Peter Zinda
Set Decoration
Daniel Carpentier
Art Direction
Robert Parle
Sound Effects Editor
Scott Wolf
Foley Editor
Michael D. Wilhoit
First Assistant Sound Editor
David Stanke
Special Effects Technician
Tim Winchester
Digital Intermediate Editor
Serge Harvey
Visual Effects Supervisor
Ollie Rankin
Concept Artist
Jerad Marantz
Visual Effects Producer
Dusan Strugar
Makeup Artist
Roxy D'Alonzo
Visual Effects Supervisor
Gunnar Hansen
Animation Director
Emilio Ghorayeb
Sound Editor
Angelina Faulkner
Compositing Artist
Sebastien Proulx
Production Assistant
Martin Brisebois
Special Effects Technician
Roland Blancaflor
Second Unit Director of Photography
Robert Mattigetz
Sound Effects Editor
Csaba Wagner
Special Effects
Sebastien Roussel
Visual Effects Supervisor
Mathieu Raynault
Sound Mix Technician
Robert Althoff
Digital Effects Supervisor
Jean-Francois Lafleur
Art Department Coordinator
Asuka Sugiyama
Prop Maker
Patrice Jacques
Digital Imaging Technician
Julie Garceau
First Assistant Camera
Nicolas Marion
Visual Effects Coordinator
Amelie Marcoux
Visual Effects Producer
Korey J. Cauchon
Visual Effects Producer
Wendy Gipp
CG Supervisor
Sylvain Theroux
VFX Supervisor
Martin Pelletier
Key Grip
Robert B. Baylis
Casting Assistant
Morgan Robbins
Special Effects Technician
Vincent Brabant
Camera Operator
Geoffroy St-Hilaire
Focus Puller
Patrick Beaulac
Makeup Artist
Fanny Vachon
Creature Design
Arnaud Brisebois
Contact Lens Technician
Kevin Carter
Dolly Grip
Alain Bisson Doyal
Production Coordinator
Yves Desjardins
ADR Recordist
Kyle D. Krajewski
Set Costumer
Sophie Beasse
Compositing Supervisor
Benjamin Ribière
Key Rigging Grip
Jean-François Dubé
Hairstylist
Rocco Stallone
Visual Effects Coordinator
Sabrina Gagnon
Makeup Artist
Catherine Lavoie
Rigging Grip
Pierre-Luc L'Espérance
Second Assistant Camera
Roch Boucher
Makeup Artist
Gillian Chandler
Post Production Accountant
Diana Ascher
Assistant Costume Designer
Eugénie Clermont
CG Artist
Stéphanie Morin
Travel Coordinator
Gabriel Lavina
Compositing Artist
Eloi Brunelle
Compositing Artist
Martin Larrivée
Senior Animator
Frédéric Côté
Music Supervisor
Brandon Thompson
Visual Effects Coordinator
Kelly Wong
Rigging Grip
Simon Touzin
Sound Re-Recording Mixer
Andrii Trifonov
Assistant Art Director
Joseph Gagné
Special Effects Technician
Luc Therrien
Set Dresser
Louis Frederic Denomme
Compositing Lead
Norbert Ruf
Lighting Artist
Erich Burchfield
CG Animator
Taran Matharu
Visual Effects Producer
P. Whitney Gearin
CG Supervisor
Charles Abou Aad
Foley Recordist
Jenna Dalla Riva
Lighting Artist
Sylvain Allard
Extras Casting
Johanne Titley
Lead Animator
Hiroyuki David Yabu
Compositing Artist
Alex Jadfard
Foley Recordist
Stephen Muir
Storyboard Artist
Brian Murray
Visual Effects Editor
Thomas R. Bryant
Extras Casting
Anthony J. Biondolillo
Matte Painter
Manuel Huertas Marchena
Lighting Artist
Bruno Champagne
3D Artist
Louis Desrochers
Compositor
Gabriel Mandala
Sculptor
Nikolaos Dresios
Assistant Accountant
Maggy Belzile
Compositing Artist
Philippe Roberge
Set Dresser
Marco Lavallée
Payroll Accountant
Lise Servant
Production Assistant
Michael Saintsbury
Compositing Artist
Michel Frenette
Visual Effects Coordinator
Mathieu Tremblay
Matte Painter
Antoine Rouleau
Matte Painter
Catherine Hébert
Concept Artist
Vance Kovacs
Set Dresser
Pascal Tremblay
Storyboard Artist
Charles Ratteray
Storyboard Artist
W.D. Hogan
Data Wrangler
Ian Mongrain
Digital Imaging Technician
Jean-Francois Gravel
First Assistant Camera
Eric Godbout
Hairstylist
Martin Nepton
Costumer
Nathalie Chretien
Textile Artist
Jonathan Girard
Production Assistant
Marc Desaulniers
Production Assistant
Noëlle Lara
Production Coordinator
Josianne Mailloux
Production Secretary
Melissa Halarides
Second Assistant Accountant
Nickey Chow
Assistant Editor
Charlie Greene
Digital Intermediate Colorist
Michael Underwood
Digital Intermediate
Milaine Gamache
Music Editor
Gordon Fordyce
3D Artist
Pierre-Olivier Levesque
CG Artist
James William Roberts
Compositing Artist
Andrea Espinal
Compositing Artist
Patricia Gaumond
Compositing Artist
Thomas Hallé
Compositing Artist
Peter Koss
Compositing Artist
Louis Laflamme-Fillion
Compositing Artist
Laurent Srey
Compositing Artist
Valentin Trasnea
Compositing Artist
Ludovic Lebart
Compositor
Felix Lafontaine
Compositor
Kenneth Armstrong
Compositor
Brian Cuartero
Compositor
Chonnanit Na Thalang
Lighting Artist
Bruno Gagné
Lighting Artist
Samuel Jacques
Lighting Artist
Philippe David
Matte Painter
Tiberius Viris
Matte Painter
Maxx Burman
Matte Painter
Julie Joannoteguy
Matte Painter
Grigor Kuzmanov
Matte Painter
Sylvain Lorgeou
Visual Effects Coordinator
Svetlana Tesnes
Visual Effects Coordinator
Jonathan Cronk
Visual Effects Coordinator
Ryan Burcham
Visual Effects Coordinator
Laurel Montgomery
Visual Effects Coordinator
Lauren Gauthier
Visual Effects Producer
Katie Wells
Visual Effects Production Assistant
Nania Sergi
Visual Effects Production Manager
Jeanne-Élise Prévost
Special Effects
Paul Brassard
Special Effects Technician
Mitch C. Duran
ADR Recordist
Dan Mockensturm
Sound Assistant
Jonathan Lafond
praVeeng
nice movie
tom_elkrider
After trying to move the character to more epic levels in ‘Chronicles of Riddick’, and failing to capture an audience, this third installment in the series, simply titled ‘Riddick’, is a return-to-basics for director David Twohy. It quickly sets itself loose from the baggage of ‘Chronicles’ and pursues a more clear-cut survival action story that might as well be titled ‘Pitch Black 2‘.
John Chard
Maybe you're all scared of the wrong thing.
Unsurprisingly reactions to this, the third outing for Vin Diesel's sci-fi based anti-hero, has been very mixed. In truth it's hardly a great film of the "must see" kind, and it does in fact cleave very close to Pitch Black, the first and most superior of the Riddick trilogy. However, there's a whole bunch of science fiction fun to be had here.
Plot has Riddick left for dead on a inhospitable planet, where he finds himself up against some alien creatures. His only hope of getting off the planet is to bring notice of his whereabouts, which brings two ships to where he is. Both with crews who have differing reasons for wanting to capture the enigmatic convict...
And thus we get a beautifully filmed sci-fier that features beasties of both the human and alien kind. Action and moody histrionics are never far away, and Diesel is wonderfully muscular, macho, course and scary. Some of the CGI is weak, and naturally much of the film's coincidences and contrivances have to be forgiven if one wants a popcorn and beer good time of it. 7/10
Gimly
**(Note: This review is of the theatrical version, I have seen the uncut version and it is an improvement, but have not reviewed that edition)**
In this latest incarnation, Riddick goes boldly goes where no previous entry has gone before: Nowhere.
Say what you will about the previous film (_Chronicles of Riddick_) at least it had the guts to take some risks. Sure, almost all of those ended up being complete misfires, but they were still taken. Riddick on the other hand plays it safe. It’s a path not entirely without benefit, but one that was not expected from the series spawned by Australian cult-classic _Pitch Black_.
Shoot me for saying it but I’m actually a huge fan of Davind Twohy (_The Arrival, Waterworld, G.I. Jane, A Perfect Getaway_) so I actually sort of hoped for more from the piece. Sure _Chronicles_ was silly and disjointed, sure _Dark Fury_ was totally unnecessary and _Dark Athena/Butcher Bay_ were only intermittently decent, but overall the Riddick franchise will always be compared to _Pitch Black_, and against this prodigy, the latest movie is simply subpar.
The Necromonger storyline has been all but dropped, any connections to previous characters (sans Riddick) are completely unbelievable and the events are a shameless rip off of the first film. Seeing a more “survivalist” and intelligent Riddick is nice, as it’s always been sort of more insinuated than outright shown. The entire world that the events of the film take place on is even moderately interesting, and none of the actors or characters are outright let downs, but overall Riddick falls much closer to the “barely watchable” category than the “brilliant” one.
It’s “cool”, it’s pretty and it’s most certainly entertaining, but it’s not new, it’s not clever, and it’s most certainly not as good as _Pitch Black_.
66%
-_Gimly_
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