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Directed by | |||
| Gregg Araki | |||
Writing credits | ||
| Gregg Araki | (screenplay) | |
| Scott Heim | (novel) | |
Original Music by | |||
| Harold Budd | |||
| Robin Guthrie | |||
Cinematography by | |||
| Steve Gainer | (director of photography) | ||
Film Editing by | |||
| Gregg Araki | |||
Casting by | |||
| Shannon Makhanian | |||
Production Design by | |||
| Devorah Herbert | |||
Art Direction by | |||
| Morgan Blackledge | (as Morgan C. Blackledge) | ||
Set Decoration by | |||
| Erin Smith | (as Erin K. Smith) | ||
Costume Design by | |||
| Alix Hester | |||
Makeup Department | |||
| Michelle Rene Elam | .... | key hair stylist (as Michelle Elam Torres) | |
| Nicole Le Bris | .... | hair stylist: New York | |
| Nicole Le Bris | .... | makeup artist: New York | |
| Fleur Morell | .... | key makeup artist | |
| Eleanor Sabaduquia | .... | assistant makeup artist | |
| Alexis Walker | .... | assistant makeup artist | |
Production Management | |||
| Beau J. Genot | .... | post-production supervisor | |
| Petra Hoebel | .... | production manager: New York | |
| Lisa Looney | .... | production supervisor | |
| Per Melita | .... | production manager: New York | |
| Hans C. Ritter | .... | unit production manager (as Hans Christian Ritter) | |
Second Unit Director or Assistant Director | |||
| Heather I. Denton | .... | second assistant director | |
| Jordan Brendan Finnegan | .... | second second assistant director (as Jordan Finnegan) | |
| Gavin Kleintop | .... | second second assistant director | |
| W. Alex Korp | .... | first assistant director (as Ale Korp) | |
Art Department | |||
| Treven Bedwell | .... | property master | |
| Erin Cabeen | .... | art department intern | |
| Shannon Cabeen | .... | art department intern | |
| Jonathan Dortch | .... | assistant property master | |
| Sally Geier | .... | art department intern | |
| Rob Henning | .... | leadman | |
| Stacy L. Henning | .... | swing | |
| Jennifer Ireland | .... | art department intern (as Jen Ireland) | |
| Mathew Klickstein | .... | on-set dresser | |
| Scott Schutzki | .... | swing | |
| Pete Steinke | .... | swing | |
| Andrew 'Pinky' Swartsel | .... | swing (as A. Corey Swartsel) | |
Sound Department | |||
| Bryan Arenas | .... | sound consultant: Dolby | |
| Steven Avila | .... | sound effects editor (as Steve Avila) | |
| James Bailey | .... | foley artist | |
| Trip Brock | .... | supervising sound editor | |
| Bob Fisher | .... | boom operator | |
| Heather Fox | .... | sound coordinator: post-production | |
| Michael J. Fox | .... | adr supervisor (as Mike Fox) | |
| Michael J. Fox | .... | foley editor (as Mike Fox) | |
| Eric Hoeschen | .... | foley artist | |
| Peter D. Lago | .... | first assistant sound editor (as Peter Lago) | |
| Coleman Metts | .... | production sound mixer | |
| Peter Oreckinto | .... | optical soundtrack: DJ Audio | |
| Jackie Oster | .... | dialogue editor | |
| Mark A. Rozett | .... | sound re-recording mixer (as Mark Rozett) | |
| Elana Saviolis | .... | sound coordinator: post-production | |
| Geordy Sincavage | .... | foley mixer | |
| Geordy Sincavage | .... | sound effects editor | |
| Melissa Strater | .... | sound coordinator: post-production (as Melissa Strater-Brock) | |
| Kelly Vandever | .... | sound re-recording mixer | |
| Randolph Saucedo | .... | sound recordist (uncredited) | |
Special Effects by | |||
| David Waine | .... | special effects coordinator | |
Visual Effects by | |||
| Mark S. Driscoll | .... | visual effects supervisor: Look Effects | |
| Henrik Fett | .... | visual effects supervisor: Look Effects | |
| Chad Buehler | .... | digital compositor (uncredited) | |
Stunts | |||
| Eddie Matthews | .... | stunt driver (as Eddie Mathews) | |
| Lou Simon | .... | stunt coordinator | |
Casting Department | |||
| Jennifer Goldstein | .... | casting assistant | |
| Katya Lidsky | .... | casting assistant (as Katja Lidsky) | |
Costume and Wardrobe Department | |||
| Carla Haupt | .... | costume intern | |
| Prudence Stein | .... | costume intern | |
| Pamela Walt | .... | costumer | |
Editorial Department | |||
| Alex Blatt | .... | post-production coordinator | |
| Alana Greenfield | .... | negative cutter: Viv Kim Negative Cutting | |
| Terry Haggar | .... | color timer | |
| Vivian Hengsteler | .... | negative cutter: Viv Kim Negative Cutting | |
| Eden Williams | .... | negative cutter: Viv Kim Negative Cutting | |
| David Block | .... | colorist (uncredited) | |
Music Department | |||
| Jenée DeAngelis | .... | music coordinator (as Jenee Clark) | |
| Bradford Ellis | .... | score engineer | |
| Bradford Ellis | .... | score programmer | |
| Howard Paar | .... | music supervisor | |
| Ronald J. Webb | .... | music editor (as Ron Webb) | |
| Tracy McKnight | .... | executive soundtrack producer (uncredited) | |
Transportation Department | |||
| Jaime Chapparo | .... | additional driver (as Jaime Chaparro) | |
| Mac 'Buck' Cook | .... | driver | |
| Guy Johnson | .... | transportation captain (as Guy 'Bone' Johnson) | |
| Eli Lozano | .... | driver (as Eli James Lozano) | |
| Sandra Ninham | .... | additional driver | |
| Stephen 'Stevo' Pate | .... | transportation coordinator | |
| Marco Ruiz | .... | additional driver (as Marco A. Ruiz) | |
| Bobby Weaver | .... | driver | |
| Alexander Yurchikov | .... | additional driver | |
Thanks | |||
| Jonathan Bell | .... | thanks | |
| Andrew Bentler | .... | special thanks | |
| Peter Billingsley | .... | thanks | |
| Mary Corbet | .... | very special thanks | |
| Eunice Lee | .... | thanks | |
| Robert Messinger | .... | special thanks | |
| Sigur Rós | .... | special thanks | |
| Warren Zavala | .... | special thanks | |
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| My Own Private Idaho | The Basketball Diaries | Bully | Persepolis | Sleepers |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
I have a feeling that most of the reviewers here have not read the text of "Mysterious Skin" by Scott Heim. Doing so would be most helpful in viewing this film.
Out of sheer luck, I happened to find a screening in Las Vegas, almost a year after the initial release, having finished the book only one day before. It was an interesting experience from the start.
One got the feeling of stepping into an adult cinema, instead of a semi-mainstream release. I was surrounded by sprinkling of older guys watching an NC-17 matinée. A first for me, for sure. The movie captures the feel of the book spot on. Director Araki should be commended for staying so close to the text. Hardly anything was left out and what was deleted did not detract from the storyline in the least.
Heim's novel deals with subject matter that most people would prefer to deny exists. But back here in the real world, it does. On screen we see the sensualization of an 8 year old boy, along with his sexual fantasy. Not for the squeamish, but Araki communicates this brilliantly without diluting the message. Most people would shy away from a story that has an 8 year old boy having an orgasm as he watched his mother have intercourse, but Araki does not. And somehow he makes it okay.
Hats off to the boys cast as the young Neil and Brian. Chase Ellison captures the emotions of his character very well. He captures the darkness of Neil McCormick incredibly, and translates perfectly from the written page. We sense the confusion turning into acceptance and then, desire. It made me squirm in my seat. George Webster as young Brian is great.
I can't imagine a lot of actors lining up to play the boylover coach, but Bill Sage does very well. In the story, his role doesn't seem like a pure predator, but clearly he has devices at work. He's in the right place at the right time.
Joseph Gordon-Levitt is a marvel is this film. There was a genuine quality to his character, an aloofness that comes with knowledge at an early age that is hard to put into words. Brady Corbett successfully brought his youthful character along, and I think his interactions with the other characters is spot on for someone who had had an experience like his.
Critics will say that this film glorifies pedophilia. I disagree. I think it shows the effects of pedophilic relationship on different people, and how they react to it. It is a slice of life, albeit a very dark one, that does occur each and every day. Approach with caution and an open mind.