| Photos (see all 25 | slideshow) |
| Patrick Wilson | ... | Jeff Kohlver | |
| Ellen Page | ... | Hayley Stark | |
| Sandra Oh | ... | Judy Tokuda | |
| Odessa Rae | ... | Janelle Rogers (as Jennifer Holmes) | |
| G.J. Echternkamp | ... | Nighthawks Clerk (as Gilbert John) |
Directed by | |||
| David Slade | |||
Writing credits(WGA) | ||
| Brian Nelson | (written by) | |
Produced by | |||
| Paul G. Allen | .... | executive producer | |
| Michael Caldwell | .... | producer | |
| Ellora Chowdhury | .... | post producer | |
| Erica Farjo | .... | associate producer: US | |
| David Higgins | .... | producer (as David W. Higgins) | |
| Richard Hutton | .... | producer | |
| Barney Jeffrey | .... | associate producer: UK | |
| Rosanne Korenberg | .... | executive producer | |
| Brian Nelson | .... | co-producer | |
| Jody Patton | .... | executive producer | |
| Hans C. Ritter | .... | co-producer (as Hans Ritter) | |
| Alex Webster | .... | post producer | |
Original Music by | |||
| Harry Escott | |||
| Molly Nyman | |||
Cinematography by | |||
| Jo Willems | (director of photography) | ||
Film Editing by | |||
| Art Jones | |||
Casting by | |||
| Valerie McCaffrey | |||
Production Design by | |||
| Jeremy Reed | |||
Art Direction by | |||
| Felicity Nove | |||
Set Decoration by | |||
| Kate Holliday | (as Kathryn Holliday) | ||
Costume Design by | |||
| Jennifer Johnson | |||
Makeup Department | |||
| Keston Ridley | .... | hair stylist | |
| Keston Ridley | .... | makeup artist | |
| Linda Sammut | .... | assistant hair stylist | |
| Linda Sammut | .... | assistant makeup artist | |
| Robert Wild | .... | assistant hair stylist | |
| Robert Wild | .... | assistant makeup artist | |
Production Management | |||
| Beau J. Genot | .... | post-production supervisor | |
| Yari Schutzer | .... | production manager | |
Second Unit Director or Assistant Director | |||
| David Liehn | .... | second assistant director | |
| Katie Mustard | .... | additional second assistant director | |
| Barry Wasserman | .... | first assistant director | |
Art Department | |||
| Thomas Benton | .... | leadman | |
| Mike Calvert | .... | storyboard artist | |
| Erik Davidson | .... | graphic designer: Vulcan Productions | |
| Matt Diamond | .... | swing | |
| Will Durham | .... | swing | |
| Christina Forrer | .... | camera track previsualization | |
| Peter Kim | .... | additional set decorator | |
| Greg Lang | .... | set dresser | |
| Lee Lazarow | .... | property master | |
| Genevieve Liebowitz | .... | prop assistant | |
| Frankie Mazzotta | .... | swing | |
| Michael Mullen | .... | prop assistant | |
| Morgan Runyon | .... | set dresser/swing | |
| Daniel Sterling | .... | visual designer: software | |
| Brad Vancata | .... | production illustrator | |
| Andy Hammer | .... | scenic (uncredited) | |
Sound Department | |||
| Jane Boegel | .... | dialogue editor | |
| Dave Davenport | .... | assistant sound editor | |
| Andrew Ellerd | .... | sound editor | |
| Patrick Giraudi | .... | sound re-recording mixer | |
| Dennis Grzesik | .... | sound mixer | |
| Sara Hankins | .... | post audio coordinator | |
| Stuart Martin | .... | sound editor | |
| Stuart Martin | .... | supervising sound editor | |
| Gus Medina | .... | foley mixer | |
| Dale W. Perry | .... | foley artist (as Dale Perry) | |
| Andy Potvin | .... | stereo consultant: Dolby | |
| Richard Taylor | .... | supervising sound editor | |
| Gerard Vernice | .... | boom operator | |
Visual Effects by | |||
| Dave Bannister | .... | visual effects assistant | |
| Rufus Blackwell | .... | visual effects assistant | |
| Josh King | .... | visual effects producer: Rushes Post Production | |
| Duncan Malcolm | .... | visual effects artist | |
| Jean-Clement Soret | .... | digital colorist | |
| Leo Wilson | .... | visual effects assistant | |
| Matthew Lawrence | .... | digital effects artist: Rushes Postproduction Ltd (uncredited) | |
Stunts | |||
| Shane T. Anderson | .... | stunt double: Jeff (as Shane Anderson) | |
| Erick Brennan | .... | stunt coordinator (as Erick C. Brennan) | |
| Robert Garrigus | .... | stunt rigger (as Bob Garrigus) | |
| Steve Tripplett | .... | stunt rigger (as Steve Triplett) | |
Casting Department | |||
| Jennifer Shapiro | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Xavier Franco | .... | wardrobe assistant | |
| Jennifer Johnson | .... | wardrobe designer | |
| Kristen Johnson | .... | wardrobe assistant | |
| Shadi Khastedai | .... | wardrobe assistant | |
Editorial Department | |||
| Kerri Aungle | .... | film data manager: UK | |
| Frank Berrios | .... | colorist: dailies | |
| Kennedy Dawson | .... | digital transfer | |
| Paul Hardcastle | .... | first assistant editor | |
| Julia Knight | .... | second assistant editor | |
| Colin Smith | .... | engineer: high definition | |
| Marilyn Sommer | .... | film data manager: Los Angeles | |
| Mauricio Tassara | .... | colorist: dailies | |
| Ken Van Deest | .... | senior dailies colorist | |
| Bruce Walker | .... | engineer: high definition | |
| Bob Wenokur | .... | studio post-production representative (uncredited) | |
Music Department | |||
| Hans C. Ritter | .... | music supervisor (as Hans Ritter) | |
| Ronald J. Webb | .... | music editor | |
| Guy Worth | .... | music recording engineer: live music | |
Transportation Department | |||
| Matthew Ballard | .... | transportation coordinator | |
| Shay Morgan Brook | .... | driver (as Shay Brook) | |
| Mark Garrett | .... | driver | |
| Guy J. Graves | .... | driver | |
| Anton Petreccia | .... | driver | |
| Cain Smead | .... | camera bike driver | |
| Elliott N. Whitton | .... | driver | |
Other crew | |||
| Mark Ankner | .... | assistant to producer | |
| Christopher Curry Balonek | .... | assistant to producer | |
| Robert W. Barney | .... | police officer | |
| Mark Benson | .... | deputy managing director: Moving Picture Company | |
| Greg Bernstein | .... | legal services (as Greg S. Bernstein) | |
| Pilar Binyon | .... | production coordinator: Vulcan Productions | |
| Alexandra Blakely | .... | set production assistant | |
| Shea E. Butler | .... | script supervisor (as Shea Butler) | |
| Kendall J. Carter | .... | fire safety advisor | |
| Shirley Chapman | .... | emergency medical technician | |
| Imani Cheers | .... | craft service | |
| Marjorie Chodorov | .... | production accountant | |
| Carol A. Compton | .... | script clearance (as Carol Compton) | |
| André Devantier | .... | caterer (as Andre Devantier) | |
| Todd Dividivich | .... | executive producer: RIOT | |
| Alex Dorn | .... | double: Huevos | |
| Karin Elkholti | .... | stand-in: Jeff | |
| Ruben Garza | .... | security officer | |
| Alisa Gentry | .... | emergency medical technician | |
| Matthew Greene | .... | software director | |
| Deborah Grovenco | .... | stand-in: Hayley | |
| Karen Hashmi | .... | production accountant: Vulcan Productions | |
| Jason J. Hunke | .... | publicity: Vulcan Productions (as Jason Hunke) | |
| Lisa R. Hurlbert | .... | risk management | |
| Jose Jauregui | .... | security officer | |
| Sherman Kaplan | .... | immigration attorney (as Sherman I. Kaplan) | |
| Miki Kato | .... | title designer | |
| Erin Kraft | .... | photo double: Donna Mauer | |
| Luis Marquez | .... | park ranger | |
| Donna Mayhew | .... | park ranger | |
| Matt McClain | .... | dailies assistant (as Matty McClain) | |
| George McDowell Agnew | .... | location consultant (as George Agnew) | |
| Kathleen McInnis | .... | unit publicist | |
| Richard McMillan | .... | location manager | |
| Geof Miller | .... | development consultant | |
| Jeff Moeller | .... | office production assistant | |
| Marcos 'Luke' Montes | .... | security officer | |
| Matt Moran | .... | night operations manager: RIOT | |
| Luis Moreno | .... | caterer | |
| Michael Nank | .... | publicity: Vulcan Productions | |
| Steve Olsen | .... | remote technician | |
| Dylan Osborn | .... | intern | |
| Juan Pacheco | .... | catering assistant | |
| William I. Page | .... | police officer (as William L. Page) | |
| Carla Pagi | .... | producer: RIOT | |
| Joe Pantoja | .... | security officer (as Joe A. Pantoja) | |
| Antonio Payan | .... | catering assistant | |
| Presley | .... | production dog | |
| Joshua Radabaugh | .... | intern (as Josh Radabaugh) | |
| Mark Reaser | .... | dailies assistant | |
| Chris Reney | .... | emergency medical technician | |
| Owyn Richen | .... | software designer | |
| Omar Shahed | .... | security officer | |
| Jessica Simmons | .... | craft service | |
| Efrain Trujillo | .... | caterer | |
| Ken Van Deest | .... | senior dailies supervisor | |
| Justin Velo | .... | software visual designer | |
| Catherine H. Vlasuk | .... | production coordinator | |
| Clarence Webb | .... | security officer | |
| Shawn Whiteman | .... | dailies assistant | |
| Jimmy Zamora | .... | security officer | |
Thanks | |||
| Bob Adler | .... | thanks | |
| Scotty Bergstein | .... | thanks | |
| Allison Binder | .... | thanks | |
| Rob Carlson | .... | thanks | |
| Jules Daly | .... | thanks (as Jules Daley) | |
| Jonathan Davis | .... | thanks | |
| Joshua Deighton | .... | thanks (as Josh Deighton) | |
| Emmerson Denney | .... | thanks (as Emmerson Denny) | |
| Cassian Elwes | .... | thanks | |
| Michael Gendler | .... | thanks | |
| Rick Genow | .... | thanks | |
| Youree Henley | .... | thanks | |
| Angelique Higgins | .... | thanks | |
| Craig Kestel | .... | thanks | |
| Phyllis Koenig | .... | thanks | |
| Walter Latham | .... | thanks | |
| Eunice Lee | .... | thanks | |
| Preston Lee | .... | thanks | |
| Fran McGivern | .... | thanks | |
| Brent Morris | .... | thanks | |
| Keith Redmon | .... | thanks | |
| Melissa Reid | .... | thanks | |
| Rena Ronson | .... | thanks | |
| Tony Scott | .... | thanks | |
| Sam Sneade | .... | thanks | |
| Doug Stone | .... | thanks | |
| Jonathan Westover | .... | thanks | |
| Jason Woodruff | .... | thanks | |
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| Kataude mashin gâru | Chik loh go yeung | Giallo a Venezia | Tenebre | Fight for Your Life |
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Well. That was disturbing. Though it is not one to recommend for "Family Night," Hard Candy offers an intriguing one-time viewing thanks to the effectiveness of its two-man show approach. Let's make that a one-man, one-girl show. I don't need a rash of emails reminding me of my chauvinism.
What the filmmakers have done is said, "Hey, Patrick Wilson! Ellen Page! We're placing the two of you in a restricted space and putting the entire movie on your shoulders. Best of luck!" Granted, I'm paraphrasing, but this is no exaggeration. There are a total of five people in the movie, and only Wilson and Page are given more than five minutes of screen time. Given this challenge, the two thespians more than hold their own.
I don't know if Wilson should take this as a compliment, but he's very convincing as a dangerously innocent-seeming pedophile. What makes him so creepy is his charm. He's a smooth, suave sexual predator. Most young girls are smart enough to do wind sprints the moment they see a dirty, unkempt man who looks to be carrying more diseases than Paris Hilton.
But Wilson is a good-looking, successful photographer. He can't be bad, right? "You look older than you are, and you certainly act older than you are," he tells Hayley, perfectly manipulating her young, fragile emotions. And hey, he can't be dangerous. After all, he obviously has the most innocent of intentions! Why else would he reassure her that he's aware of the legal boundaries? She's puddy in his hands.
This all starts quietly enough, but once they get to his house gears are shifted and everything goes haywire. That's all I'm revealing regarding the story, but I do have to give kudos to Ms. Page who turns in an impressive performance. I did feel she was a bit too precocious and world-wise at times, but she still does a great job showcasing a wide range of emotions of this potential young victim.
Despite the interesting concept of the two-person show, it clearly has its limitations. At 103 minutes this is just way too long. After a while it becomes too obvious that certain scenes and lines of dialogue are, like most songs on recent Rolling Stones albums, inserted for no other reason than to serve as filler. The worst example being a scene involving Sandra Oh's neighbor character. The only purpose it serves is to deliver a little faux drama. That subplot is dropped faster than Britney Spears' baby, never to be heard from again.
Hard Candy refuses to send you prancing home with a smile on your face or a song in your heart, but if nothing else it serves as a strong warning that you should probably pay close attention to who your kids are communicating with online. At least warn them that sometimes the person they least suspect could be the one to be most wary of.
A quick word of warning to all you guys: there is one particular scene where what we perceive is happening will absolutely make you squirm in your seat. You'll most likely watch it through squinted eyes. I haven't felt that uncomfortable at the theater since the My Own Private Idaho fiasco. I suggest you be prepared.