| Photos (see all 68 | slideshow) | Videos (see all 26 NEW) |
| Jennifer Connelly | ... | Dahlia Williams | |
| John C. Reilly | ... | Mr. Murray | |
| Tim Roth | ... | Jeff Platzer | |
| Dougray Scott | ... | Kyle Williams | |
| Pete Postlethwaite | ... | Veeck | |
| Camryn Manheim | ... | Teacher | |
| Ariel Gade | ... | Cecilia 'Ceci' Williams | |
| Perla Haney-Jardine | ... | Natasha Rimsky / Young Dahlia | |
| Debra Monk | ... | Young Dahlia's Teacher | |
| Linda Emond | ... | Mediator | |
| Bill Buell | ... | Mediator | |
| J.R. Horne | ... | Man in Train | |
| Elina Löwensohn | ... | Dahlia's Mother | |
| Warren Belle | ... | UPS Man | |
| Alison Sealy-Smith | ... | Supervisor | |
| Simon Reynolds | ... | Man in Elevator | |
| Kate Hewlett | ... | Teacher's Aide | |
| Jennifer Baxter | ... | Mary | |
| Diego Fuentes | ... | Night Doorman | |
| Zoe Heath | ... | Natasha's Mother | |
| Craig muMs Grant | ... | Platzer's Backseat Client (as muMs) | |
| Matthew Lemche | ... | Steve (as Matt Lemche) | |
| Edward Kennington | ... | Billy | |
| rest of cast listed alphabetically: | |||
| Ismael Peter Casillas III | ... | School student (uncredited) | |
| Marshall Factora | ... | Mr. Bernstein (uncredited) | |
Directed by | |||
| Walter Salles | |||
Writing credits(WGA) | ||
| Kôji Suzuki | (novel "Honogurai Mizu No Soko Kara") | |
| Hideo Nakata | (film Honogurai mizu no soko kara) and | |
| Takashige Ichise | (film Honogurai mizu no soko kara) (as Taka Ichise) | |
| Rafael Yglesias | (screenplay) | |
Produced by | |||
| Doug Davison | .... | producer | |
| Kerry Foster | .... | associate producer | |
| Ashley Kramer | .... | executive producer | |
| Roy Lee | .... | producer | |
| Bill Mechanic | .... | producer | |
| Diana Pokorny | .... | co-producer | |
Original Music by | |||
| Angelo Badalamenti | |||
Cinematography by | |||
| Affonso Beato | |||
Film Editing by | |||
| Daniel Rezende | |||
Casting by | |||
| Mali Finn | |||
| Tina Gerussi | |||
| Kelli Lerner | |||
| Carole Tarlington | |||
Production Design by | |||
| Thérèse DePrez | |||
Art Direction by | |||
| Nicholas Lundy | |||
| Andrew M. Stearn | |||
Set Decoration by | |||
| Nick Evans | |||
| Clive Thomasson | |||
Costume Design by | |||
| Michael Wilkinson | |||
Makeup Department | |||
| David R. Beecroft | .... | key hair stylist | |
| Sylvain Cournoyer | .... | key makeup artist | |
| Tina Earnshaw | .... | makeup artist: Ms. Connelly | |
| Wayne Herndon | .... | hair stylist: Ms. Connelly | |
| Lori Hicks | .... | key makeup artist: New York | |
| Laurel Kelly | .... | hair stylist: Ms. Connelly, additional photography | |
| Elisa Marsh | .... | key makeup artist: additional photography | |
| Loretta Nero | .... | key hair stylist: additional photography | |
| Lydia Pensa | .... | assistant hair stylist | |
| John Quaglia | .... | key hair stylist: New York (as John D. Quaglia) | |
| Gordon J. Smith | .... | special makeup effects artist (as Gord Smith) | |
| Julia Valente | .... | assistant makeup artist | |
Visual Effects by | |||
| Mesrop Abrahamian | .... | rotoscope artist: Flash Film Works | |
| Nancy Bernstein | .... | visual effects executive producer: Digital Domain | |
| Corinne Bogdanowicz | .... | digital artist | |
| Steven J. Brooks | .... | rotoscope artist: Flash Film Works | |
| Craig Cannon | .... | scanning and recording operator: Digital Domain | |
| Michael Casillas | .... | visual effects intern: Flash Film Works | |
| John Coats | .... | 3D animator: Flash Film Works | |
| John Coats | .... | matte painting supervisor: Flash Film Works | |
| Dan Cobbett | .... | digital compositor: Digital Domain | |
| Chad E. Collier | .... | scanning and recording operator: Digital Domain | |
| Brian Corpus | .... | technical operations manager: Pacific Title and Art Studio | |
| Sean Devereaux | .... | visual effects compositor: Digital Domain | |
| Bonnie Dombrowski | .... | rotoscope artist: Flash Film Works | |
| Jason Doss | .... | 3D integration artist: Digital Do | |
| Tim Everitt | .... | animation supervisor: Flash Film Works | |
| Daniel Favini | .... | digital matte painting: Digital Domain | |
| Mark O. Forker | .... | visual effects supervisor: Digital Domain | |
| Jamieson Fry | .... | digital artist: Digital Domain | |
| Jon Greenhalgh | .... | digital artist | |
| Christine Haddad | .... | rotoscope artist: Flash Film Works | |
| Heather Elisa Hill | .... | visual effects coordinator: Digital Domain | |
| Shauna M. Hirdler | .... | visual effects coordinator: Flash Film Works (as Shauna Hirdler) | |
| Christopher Holsey | .... | scanning and recording supervisor: Digital Domain | |
| Jamison Huber | .... | visual effects production assistant | |
| Todd Isroelit | .... | visual effects producer: Digital Domain | |
| Dag Iversay | .... | digital compositor: Digital Domain (as Dag Ivarsoy) | |
| Dave Jacobs | .... | rotoscope artist: Flash Film Works (as David Jacobs) | |
| Lincoln Kupchak | .... | visual effects editor: Flash Film Works | |
| Kevin Lingenfelser | .... | digital compositor: Digital Domain | |
| Craig Mathieson | .... | digital compositor | |
| Robert McInnis | .... | 2d manager: Digital Domain | |
| John P. Mesa | .... | visual effects supervisor: Flash Film Works | |
| William Mesa | .... | visual effects supervisor: Flash Film Works | |
| Stephen Mitchell | .... | digital paint and rotoscope artist: Digital Domain | |
| Colleen Murphy | .... | digital effects coordinator: Digital Domain | |
| Dan Novy | .... | visual effects technical supervisor: Flash Film Works | |
| Mario Peixoto | .... | digital compositor: Digital Domain | |
| Brian Peyatt | .... | digital production manager: Digital Domain | |
| Darren Poe | .... | compositing supervisor: Digital Domain (as Darren M. Poe) | |
| Anthony Ruey | .... | technical assistant | |
| Todd Sarsfield | .... | digital color grader: Digital Domain | |
| Som Shankar | .... | 3D integration artist: Digital Domain | |
| Cybele Sierra | .... | digital compositor: Digital Domain (as Cybelle Sierra) | |
| Tess Spaulding | .... | system administrator | |
| Ken Stranahan | .... | compositing supervisor: Flash Film Works | |
| Ken Stranahan | .... | digital compositor | |
| James D. Tittle | .... | visual effects coordinator: Pacific Title | |
| Andrew Waisler | .... | computer graphics supervisor: Digital Domain (as Andy McGrath Waisler) | |
| Jeffrey White | .... | visual effects producer: Flash Film Works | |
| Deborah Wiltman | .... | digital compositor: Digital Domain | |
| Scott Ross | .... | general manager: Digital Domain (uncredited) | |
Stunts | |||
| G.A. Aguilar | .... | stunt coordinator: New York | |
| Lauren A. Bonfiglio | .... | stunts | |
| Bob Brown | .... | stunt coordinator: additional photography | |
| Blaise Corrigan | .... | stunts | |
| Mavis Corrigan | .... | stunts | |
| Tom Farr | .... | stunts | |
| Jeffrey Lee Gibson | .... | stunts (as Jeff Gibson) | |
| Chloe Jones | .... | stunts | |
| Ciara Jones | .... | stunts | |
| Dana Jones | .... | stunts | |
| Jamie Jones | .... | stunt coordinator: Toronto | |
| Kelly Jones | .... | stunts | |
| Morgan Rue | .... | stunts | |
| Robert C. Shannon | .... | water safety | |
| Jay Spadaro | .... | stunts | |
Animation Department | |||
| Mary C. Snyder | .... | animator | |
Casting Department | |||
| Chad Darnell | .... | extras casting: Los Angeles | |
| Jonathan Leeder | .... | casting associate | |
| Kelli Lerner | .... | casting: New York | |
| Geoffrey Miclat | .... | casting intern | |
| Kimberly Mullen | .... | casting: Florida | |
| Mark Mullen | .... | casting: Florida | |
| David Rapaport | .... | casting associate | |
| Jennifer Sabel | .... | extras casting associate | |
| Kristian Sorge | .... | extras casting associate | |
Costume and Wardrobe Department | |||
| Jay Du Boisson | .... | assistant costume designer | |
| Gayle Franklin | .... | costume buyer | |
| Loreen Lightfoot | .... | costume cutter | |
| Debbie Lucas | .... | seamstress | |
| Trelawnie Mead | .... | costume dyer/breakdown | |
| Kate Quinlan | .... | wardrobe supervisor | |
| Nicci Schinman | .... | costumer | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| Claudine Franco | .... | post-production coordinator | |
| Suzy Gilbert | .... | assistant editor | |
| Ahmad Ismail | .... | telecine operator | |
| Jamie Kirkpatrick | .... | assistant editor: New York | |
| Maria Montoreano | .... | associate editor | |
| John Potter | .... | high definition preview timer | |
| Pablo Prietto | .... | assistant editor | |
| Ian Silverstein | .... | assistant editor | |
| Mary Beth Smith | .... | negative cutter | |
| Dawn M. Stoliar | .... | first assistant editor | |
Music Department | |||
| Bryan Clements | .... | scoring crew | |
| Mark Eshelman | .... | scoring crew | |
| Robert Fernandez | .... | scoring mixer | |
| Greg Loskorn | .... | scoring technician | |
| Larry Mah | .... | digital score recordist | |
| Phil Marshall | .... | composer: additional music | |
| Phil Marshall | .... | orchestrator | |
| Barbara McDermott | .... | assistant music editor | |
| Daniel McIntosh | .... | music playback | |
| Adam Michalak | .... | score recordist | |
| Bill Pearson | .... | music recordist | |
| Bill Pearson | .... | score synth programmer | |
| Joe E. Rand | .... | music editor | |
| Patrick Russ | .... | orchestrator | |
| Booker White | .... | music preparation | |
Transportation Department | |||
| Rickey Giallonardo | .... | transportation co-captain | |
| Alan Kaminsky | .... | driver generator operator | |
| Robert Tenaglia | .... | transportation co-coordinator | |
|
|
|
|
|
| Honogurai mizu no soko kara | The Nanny Diaries | An American Haunting | Jumper | The Ring |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
| Add this title to MyMovies |
Don't know about you all, but I've sort of had it up to here with teenagers. Walter Salles' *Dark Water* flopped because of teenagers. The geniuses up the highway from me at the Walt Disney Company tried to market this psychological drama -- in SUMMER! -- to teenagers as a slasher film . . . OOPS. When the teenagers discovered that the film's primary concern was with a troubled single mother, fresh from a nasty divorce and currently embroiled in a custody fight, they lost patience with it (the screen offering no steaming entrails oozing from savagely slashed pregnant abdomens and such) and commenced downloading ring-tones from Katazo on their cellphones in the darkened theaters. The epilogue to the sorry saga of this film's release? The teenagers infest this website with their 1-star reviews and poor grammar and ALL CAPS SENTENCES. Look, I've got an idea: I think it's high time that the folks at IMDb create an entirely separate website -- let's call it "IMDbTeen" -- in which the children can vent their spleen and leave THIS site for the rest of us to discuss movies. And no, banishing the youngsters to the discussion boards won't cut the mustard -- the Ritalin-addicted kids, thumbs sore from their PSPs, have obviously found their way to the review pages. Or perhaps IMDb, which is owned by Amazon, can follow their corporate parent's lead and force teenagers to identify themselves as such -- the rest of us can then ignore their comments.
Pardon the W.C. Fields rant, but *Dark Water* is too good a film to be hijacked by walking pimple sacks, sorry. Here is a great work of art that has been virtually disowned by its director because of the poor box office returns. Hey, Salles, if you're reading this, there's no reason for you to hang your head in shame over this picture. I, for one, appreciated your baroque homage to Polanski's *Repulsion*, and can even state that the performance you get out of Jennifer Connelly actually surpasses Deneuve's work in that earlier film. Connelly thoroughly inhabits the role -- an unglamorous one that asks this beautiful actress to dress in ratty clothes while suffering from constant migraines. She convinces us as a desperate case, both financially and emotionally, and also convinces us that Dahlia is an honest-to-goodness mom (Connelly has a couple of kids in real life, which not only helps, but is a necessity on an actress' resume if she presumes to play this part). And it's not just Connelly who scores in the acting department: John C. Reilly as the superintendent delivers an immortal monologue (mostly improvised, according to the DVD extras) as he offers Dahlia and her daughter a grand tour of the hideous housing project on Roosevelt Island that is the setting of the movie. "Where's the living room?" asks Dahlia. "This is it," effuses Reilly, "It's both bedroom AND living room! It's what they call a DUAL-USE room. Look at it -- it's huge!" Anyone who has ever dealt with a real estate agent will recognize Reilly's canny mix of friendliness and utter untrustworthiness. A-class talent such as Pete Postlethwaite and Tim Roth also make significant contributions as the building's janitor and Dahlia's lawyer, respectively.
But the prime virtue of the film is in the photography and set design. *Dark Water* is that rarest of horror films: it's set in the city. Roosevelt Island, to be precise, that run-down spit of land across the river from Manhattan, encrusted with Soviet-bloc inspired tenement housing. ("The Brutalist style," as Reilly would have it.) Salles' DP has a field day in this environment, getting some nice aerial shots of the brick and cement rat maze, as well as some low shots pointing up toward the tenement towers' imposing height. The weather is usually rainy (the incessant leitmotiv of the film is water, obviously), the sky is gun-gray, smokestacks dominate the horizon, the overall color palette consists of institutional gray, poverty-row brown, icky black, depression blue. The interiors, specifically of Dahlia and Ceci's apartment -- along with the mysterious 10-F directly upstairs -- is a fond homage to Catherine Deneuve's greasy, miserable apartment in Polanski's *Repulsion*, with some nods thrown towards the Coens' *Barton Fink* along the way (especially in regards to the peeling plaster and moist dry-wall and overall dilapidation).
But is *Dark Water* really scary? Presumably, this would be the point. It's probably not scary enough to scare the pimple sacks, but it's scary enough for those who've had to deal with life's most fundamental problems, such as raising a child alone, or finding oneself crippled by either physical or mental handicaps, aggravated by an unhappy past, WHILE raising a child alone. In other words, it's scary enough for grown-ups, who can find terror in watching their children cross a busy intersection. And in any case, Salles delivers a few choice jolts along the way, which I won't spoil. But the genius of the film is in its atmosphere: an unrelenting brooding menace that feeds off of urban misery. *Dark Water* is depressing and scary.
And splendid. 9 ardent stars out of 10.