| Photos (See all 13 | slideshow) | Videos (see all 10) |
Directed by | |||
| Greg Mclean | |||
Writing credits | ||
| Greg Mclean | (written by) | |
Produced by | |||
| George Adams | .... | executive producer | |
| Martin Fabinyi | .... | executive producer | |
| Michael Gudinski | .... | executive producer | |
| Gary Hamilton | .... | executive producer | |
| Matt Hearn | .... | co-producer | |
| Matt Hearn | .... | executive producer | |
| Simon Hewitt | .... | executive producer | |
| David Lightfoot | .... | line producer | |
| David Lightfoot | .... | producer | |
| Greg Mclean | .... | producer | |
| Dale Roberts | .... | post-production producer | |
Original Music by | |||
| Frank Tetaz | (original score composer) (as François Tétaz) | ||
Cinematography by | |||
| Will Gibson | (director of photography) | ||
Film Editing by | |||
| Jason Ballantine | |||
Casting by | |||
| Angela Heesom | |||
Production Design by | |||
| Robert Webb | |||
Costume Design by | |||
| Nicola Dunn | |||
Makeup Department | |||
| Charmaine Connelly | .... | special effects prosthetics supervisor: Connelly Make-up FX Team | |
| Charmaine Connelly | .... | special makeup effects supervisor: Connelly Make-up FX Team | |
| Rick Connelly | .... | special effects prosthetics supervisor: Connelly Make-up FX Team | |
| Rick Connelly | .... | special makeup effects supervisor: Connelly Make-up FX Team | |
| Jennifer Lamphee | .... | hair stylist supervisor (as Jen Lampree) | |
| Jennifer Lamphee | .... | makeup supervisor (as Jen Lampree) | |
| Fiona Rees-Jones | .... | hair stylist | |
| Fiona Rees-Jones | .... | makeup artist | |
| Coralie Ryan | .... | makeup effects assistant: Connelly Make-up FX Team | |
| Sarah Smith | .... | makeup effects assistant: Connelly Make-up FX Team | |
| Danielle Snashall | .... | makeup effects assistant: Connelly Make-up FX Team | |
Production Management | |||
| Jason Ballantine | .... | post-production supervisor | |
| Mark 'Sharky' Johnson | .... | unit manager | |
| Anna Molyneaux | .... | production manager | |
| Steve Russell | .... | assistant unit manager | |
| Teresa Zales | .... | production supervisor: additional photography (uncredited) | |
Art Department | |||
| James Calvert | .... | pre-visualization: The Peoples Republic of Animation | |
| Nick DeBoar | .... | pre-visualization: The Peoples Republic of Animation | |
| John Kruger | .... | graphic designer | |
| John Kruger | .... | signage | |
| Xan Lamphee | .... | props coordinator | |
| Xan Lamphee | .... | set dresser | |
| Chris Landreth | .... | construction manager | |
| Brodie McCrossin | .... | pre-visualization: The Peoples Republic of Animation | |
| Patch Moore | .... | construction: mine | |
| Obie O'Brien | .... | props buyer | |
| Obie O'Brien | .... | set dresser | |
| Geoff Robertson | .... | artist: conceptual poster art | |
| Tom Sheridan | .... | art department assistant | |
| Andrew Stephens | .... | art department assistant | |
| Geoffrey Tarr | .... | stand-by props (as Geoff Tarr) | |
Sound Department | |||
| Marco Arlotta | .... | boom operator | |
| Mike Bakaloff | .... | boom operator (as Michael Bakaloff) | |
| Pete Best | .... | adr recordist | |
| Pete Best | .... | sound effects editor | |
| Pete Best | .... | sound mixer | |
| Tom Heuzenroeder | .... | sound effects editor | |
| Des Keneally | .... | sound recordist (as Des Kenneally) | |
| John Simpson | .... | foley artist | |
| Peter D. Smith | .... | dialogue editor (as Peter Smith) | |
| Peter D. Smith | .... | sound mixer (as Peter Smith) | |
| Adrian Medhurst | .... | foley artist (uncredited) | |
Visual Effects by | |||
| Mark Chataway | .... | visual effects | |
| Don Dixon | .... | digital liaison: Atlab | |
| Marty Pepper | .... | flame visual effects | |
| Marty Pepper | .... | hi-def colourist | |
| Marty Pepper | .... | senior colourist | |
| Marty Pepper | .... | visual effects editor | |
| Robert Sandeman | .... | digital supervisor: Atlab | |
Stunts | |||
| John Gauci | .... | action vehicle driver | |
| Bernard Ledger | .... | precision driver (as Bernie Ledger) | |
| Bernard Ledger | .... | stunt coordinator (as Bernie Ledger) | |
| Bernard Ledger | .... | stunts (as Bernie Ledger) | |
| Paul Lightfoot | .... | precision driver | |
| Paul Lightfoot | .... | stunts | |
| Inge Sildnik | .... | precision driver | |
| Inge Sildnik | .... | stunts | |
Camera and Electrical Department | |||
| Marcus Bosisto | .... | supplier: lighting and grip equipment | |
| James Calvert | .... | still photographer | |
| Tony D'Antonio | .... | camera assistant | |
| Daniel Guerra | .... | still photographer (as Daniel 'Gulio' Guerra) | |
| Paul Lightfoot | .... | assistant grip | |
| Paul Lightfoot | .... | assistant lighting | |
| Jason Munn | .... | camera assistant | |
| Jody Muston | .... | focus puller | |
| Jody Muston | .... | second camera operator | |
| Hugh O'Sullivan | .... | assistant grip | |
| Hugh O'Sullivan | .... | assistant lighting | |
| Kent Smith | .... | additional cinematographer | |
| Darcy Sullivan | .... | camera assistant | |
| Todd Telford | .... | key grip | |
| Todd Telford | .... | key lighting | |
| Richard Trayling | .... | grip | |
| Richard Trayling | .... | lighting | |
| Brandon Trost | .... | additional photographer (uncredited) | |
Costume and Wardrobe Department | |||
| Paula Buckland | .... | wardrobe assistant | |
| Nicola Dunn | .... | stand-by wardrobe | |
| Marriott Kerr | .... | costume supervisor (as Mariot Kerr) | |
Editorial Department | |||
| Mo Henry | .... | negative cutter (uncredited) | |
Music Department | |||
| Justin Astbury | .... | composer: dance music | |
| Rob Biancetti | .... | composer: dance music | |
| Dave Brown | .... | musician: guitar prepared and lap top guitars | |
| Oscar Carlos | .... | musical score treatments | |
| Brett Dean | .... | musician: viola | |
| Rosanne Hunt | .... | musician: cello | |
| Andrea Keable | .... | musician: violin | |
| Tom O'Dwyer | .... | musician: bass clarinet (as Tim O'Dwyer) | |
| Anthony Pateras | .... | musician: piano preparation and additional piano frame | |
| Byron Joel Scullin | .... | musician: vital ancillary | |
| Frank Tetaz | .... | music producer (as François Tétaz) | |
| Frank Tetaz | .... | musician: piano frame, rhodes, pedal steel and ukelyn (as François Tétaz) | |
| David Thrussell | .... | music score treatments | |
| Miki Tsunoda | .... | musician: violin | |
| Vlademar Valarian | .... | musician: percussion | |
| David Vodicka | .... | music clearances | |
| David Vodicka | .... | music contractor: Screen Services | |
| Emma Wiking | .... | music clearances | |
| Emma Wiking | .... | music contractor: Screen Services | |
Transportation Department | |||
| Jon Blaikie | .... | action vehicle coordinator (as Jon Blaike) | |
| Urch Shreiner | .... | action vehicle assistant | |
| Tom Tomney | .... | operator: 4 wheel drive | |
| Geoffrey Wastall | .... | operator: 4 wheel drive | |
Other crew | |||
| George Adams | .... | completion guarantor: Cinefinance | |
| Michael Clarkin | .... | location manager | |
| John Coory | .... | armorer and pyrotechnics | |
| Sally Corooran | .... | liason: South Australian Film Corporation studios | |
| Mason Curtis | .... | location consultant | |
| Davids Darzins | .... | legal | |
| Andrew Davies | .... | caterer: Crew Food | |
| Nick Davies | .... | caterer: Crew Food | |
| Annie Dovey | .... | unit nurse | |
| Dennis Dovey | .... | production assistant | |
| Bob Fisher | .... | completion guarantor: Cinefinance | |
| Benjamin Garland | .... | unit runner (as Ben Garland) | |
| Mac Gudgeon | .... | script editor | |
| Foster Hart | .... | legal | |
| Richard Hyde | .... | insurance | |
| Jenny Lalor | .... | legal | |
| Alan Lamb | .... | wire recordings | |
| Bernard Ledger | .... | safety supervisor (as Bernie Ledger) | |
| Paul Lightfoot | .... | unit runner | |
| Merrilyn Mensforth | .... | accounts assistant | |
| Merrilyn Mensforth | .... | production assistant | |
| Anna Molyneaux | .... | production coordinator | |
| Jain Moralee | .... | location manager | |
| Amanda Palmai | .... | caterer: Crew Food | |
| Alison Parker | .... | production coordinator | |
| Byron Joel Scullin | .... | wire recordings | |
| Lisa Simons | .... | accounts assistant | |
| Greg Sitch | .... | legal | |
| Corrie Soeterboek | .... | completion guarantor: Cinefinance | |
| Gillian Stiene | .... | continuity (as Gillian Stein) | |
| Trudy Talbot | .... | financial controller | |
| Trudy Talbot | .... | production accountant | |
| Helen Tiller | .... | accent coach | |
| Helen Tiller | .... | dialogue coach | |
| Sam White | .... | assistant to director | |
| Erryn Worth | .... | post-production script supervisor | |
Thanks | |||
| Tennyson Andrew | .... | the producers would like to thank | |
| Andrew Andreyev | .... | the producers wish to thank | |
| Christine Baillie | .... | the producers would like to thank | |
| Elene Balaskas | .... | the producers would like to thank | |
| Michael Bau | .... | acknowledgment: for the South Australian Film Corporation | |
| Mark Broomhead | .... | acknowledgment: for the Film Finance Corporation Australia | |
| Judith Crombie | .... | acknowledgment: for the South Australian Film Corporation | |
| Sandra Di Iulio | .... | the producers wish to thank | |
| Sean Evans | .... | the producers would like to thank (as Senior Constable Sean Evans) | |
| Jamie Guerra | .... | the producers wish to thank | |
| Simon Hewitt | .... | the producers wish to thank | |
| Dan Hogan | .... | acknowledgment: for the South Australian Film Corporation | |
| Terry Jennings | .... | acknowledgment: for the South Australian Film Corporation | |
| Helen Leake | .... | acknowledgment: for the South Australian Film Corporation | |
| Lindsay Lipson | .... | acknowledgment: for the Film Finance Corporation Australia | |
| John Maiolo | .... | the producers would like to thank | |
| Ross Matthews | .... | acknowledgment: for the Film Finance Corporation Australia | |
| Adrian Murray | .... | the producers would like to thank | |
| Andrew Neil | .... | the producers wish to thank (as Andrew Neal) | |
| Bree Nevin | .... | the producers would like to thank | |
| Heather Oxenham | .... | the producers would like to thank | |
| Bronwyn Poole | .... | the producers would like to thank | |
| Craig Shute | .... | the producers wish to thank | |
| George Sibenala | .... | the producers would like to thank | |
| Lyn Sibenala | .... | the producers would like to thank | |
| Anthos Simon | .... | the producers would like to thank | |
| Stephen F. Smith | .... | the producers would like to thank | |
| John Teague | .... | the producers would like to thank | |
| John Tobin | .... | the producers would like to thank | |
| Mark Vatuli | .... | the producers wish to thank | |
| Geoffrey Wastall | .... | the producers would like to thank: Partacoona Station (as Geoff Wastall) | |
| Tracey Wastall | .... | the producers would like to thank: Partacoona Station | |
| Steve Whitham | .... | the producers would like to thank | |
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb Australia section |
I was thrilled to see a movie like "Wolf Creek" come out in theatres: a straightforward horror film not relying on clever twists (except one, small one) or gimmicks. It was the kind of film "High Tension" started off as before that last act mindf*ck. And while I ended up appreciating what that movie did, I would have loved it more without the twist.
"Wolf Creek" picks up where films like "Texas Chainsaw Massacre" and "Last House on the Left" left off, without feeling the need to necessarily "pay homage" to them. I wonder if the fact that it's not American-made has anything to do with that. I also wonder if the non-American influence kept this from becoming predictable or familiar in any way. What you think is going to happen in this film never quite happens. One of the original "Texas Chainsaw Massacre" taglines was, "Who Will Survive and What Will Be Left of Them?" I think this film asks the same question, but doesn't provide so simple an answer.
I think it's best to know little about "what happens" here before seeing it. Most people know the basics--three backpackers on a road trip, they stop at remote Wolf Creek, entering an odd Twilight Zone of stopped time and dead car engines. A friendly bushman stops by willing to help, let the nightmare begin.
I love that director/writer/producer Greg McLean never offers an explanation for the watches and the car engine. What happens in this film seems almost alien--three humans struggling to survive on what appears like a distant, barren planet, up against a hunter with no semblance of humanity in him. Yes, this movie is very similar to "Texas Chainsaw Massacre," but it is in no way a rip-off. While the early-morning showdown on the barren road may look similar to the climax of TCM, it is its own nightmarish entity. In fact, some of the scene reminded me of "Duel." The acting in this movie is brilliant. The three leads--Ben, Kristi, and Liz--are so wonderfully likable, and there is an odd feeling of improvisation in the acting. It's so natural, it seems impossible to script. When everything goes to hell, you want all three of them to survive, and you'll surely be devastated by the slightest injury any of them endures. Many have complained about the hour or so of build up, but I think it was brilliant on McLean's part to make sure we cared about these people, and then to put them through the wringer. It's sadistic, too, emotionally, but it's the sign of a great director.
John Jarratt, as Mick, is unforgettably cruel. Jarratt embodies this character from head to toe, and is fearless in his performance. Mick is an ugly, cruel man, and yet when we first meet him, he seems like the nicest guy in the world. One of the scariest aspects to this film is that you can see yourself falling for all of his tricks.
To be honest, I never want to see "Wolf Creek" again. It's not a fun movie. I left wanting to hate it, because I hated what happened. But I admire this movie for what it managed to do. I truly had to keep repeating to myself, "It's only a movie," (the infamous "Last House on the Left" tagline) but it's so realistic and so unflinching in portraying what happens, that you'll feel as if someone was always peeking around a corner with a camera, filming an actual event. Of course, this is based on true events, and frankly, there is some discrepancy to how "true" this film tries to be (obviously, much of the second act had to be dramatized, and you'll realize why once you see the movie) but it didn't need that "based on true events" tag. It's already very real.
I hate to end on the old "Jaws" cliché, but as I am going to Australia soon, I can say for a fact that this does do for backpacking what "Jaws" did for swimming. I consider this movie a parable of sorts. Well done.