| Cameron Ambridge | ... | Bike Riding Gunman | |
| Tony Barry | ... | Louis | |
| Douglas Blaikie | ... | Nikkos | |
| John Boxer | ... | Terry | |
| Cheuk-Fai Chan | ... | Gunman #1 | |
| Vince Colosimo | ... | Keeling | |
| Dante Dizon | ... | Blackjack Dealer | |
| Anh Do | ... | Nguyen | |
| Colin Friels | ... | Jack Barrett | |
| Jason Gillam | ... | Jonas | |
| Paul Gleeson | ... | Murray | |
| Linal Haft | ... | Reno | |
| Brian Harrison | ... | Havana | |
| Chris Haywood | ... | Arkan | |
| Julie Hudspeth | ... | Admin Officer | |
| Emma Jackson | ... | Woman in Car | |
| Holly Jones | ... | Female Constable | |
| Jay Laga'aia | ... | Vincent | |
| Skyla Laginha | ... | Child in Car | |
| Nammi Le | ... | Security Girl #1 (as Nammi Le Benson) | |
| Angie Milliken | ... | Kate | |
| Dorian Nkono | ... | Sonna | |
| Bojana Novakovic | ... | Billie | |
| Don Reid | ... | Chief Super | |
| Chelsea Russell | ... | Girl in Audience | |
| Toby Schmitz | ... | Trent | |
| John Schwartz | ... | Mick | |
| Anthony Simcoe | ... | Jim | |
| Melinda Smith | ... | Mrs. Keeling | |
| Sotiri Sotiropoulos | ... | Man in Car | |
| Bruce Spence | ... | Kennedy | |
| Chris Williams | ... | Morgue Attendant | |
| Matt Zeremes | ... | Hazim | |
| Jenny Zhang | ... | Security Girl #2 |
Directed by | |||
| Morgan O'Neill | |||
Writing credits(in alphabetical order) | ||
| Morgan O'Neill | screenplay | |
Produced by | |||
| Chris Berry | .... | executive producer | |
| Bob Campbell | .... | executive producer | |
| Tony Forrest | .... | executive producer | |
| Sue Milliken | .... | executive producer | |
| Sue Seeary | .... | producer | |
Original Music by | |||
| Damian De Boos-Smith | |||
| Martyn Love | |||
Cinematography by | |||
| Hugh Miller | |||
Film Editing by | |||
| Marcus D'Arcy | |||
Production Management | |||
| Sue MacKay | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Tim Lion | .... | second assistant director | |
| Karan Monkhouse | .... | first assistant director | |
Art Department | |||
| Victoria Williams | .... | set dresser | |
Sound Department | |||
| Lucas Bone | .... | assistant sound editor | |
| Jason Hancock | .... | foley recordist | |
| Leah Katz | .... | crowd editor | |
| Michael McMenomy | .... | sound effects recordist | |
| Adrian Medhurst | .... | foley artist | |
| Bronwyn Murphy | .... | dialogue editor | |
| John Simpson | .... | foley recordist | |
| William Ward | .... | sound effects editor | |
| Megan Wedge | .... | Atmos editor | |
Special Effects by | |||
| Chris Murray | .... | special effects supervisor | |
| Conrad Rothmann | .... | special effects foreman | |
| Monika Stankowski | .... | special effects coordinator | |
Visual Effects by | |||
| Tim Trumble | .... | film recording technician | |
Stunts | |||
| Harry Dakanalis | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Simon Cardwell | .... | still photographer | |
| Simon Chapman | .... | director of photography: second unit | |
| Jem Rayner | .... | key focus puller | |
| Mark Rogers | .... | still photographer | |
| Martin Turner | .... | camera operator | |
Casting Department | |||
| Marianne Jade | .... | casting associate | |
Costume and Wardrobe Department | |||
| Sonia Nourry | .... | key stand-by wardrobe | |
Editorial Department | |||
| Teena Economidis | .... | first assistant editor | |
Music Department | |||
| Simon Leadley | .... | music mixer | |
Other crew | |||
| Jason Glover | .... | boat handler | |
| Peter Harris | .... | location manager | |
| Krista Johnston | .... | clearances | |
| David Lawrance | .... | laboratory liaison | |
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| Bleeders | Little Fish | Cedar Boys | Gallipoli | See How They Run |
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| Full cast and crew | Company credits | External reviews |
| IMDb Crime section | IMDb Australia section | Add this title to MyMovies |
Having read the screenplay on Project Greenlight, I was keen to see how it turned out. It was true to the script, which is what one would hope when the director is also the writer, but there were scenes which could have been deleted without diminishing the impact of the film. When I read the script, I got the feeling of a comic-book story and there's nothing wrong with this--gritty, tough, seamy underside of a big city. Somehow the film didn't quite carry this across and seemed to be trying to add more credibility to what could be just a good, slightly-clichéd action flick. One thing that I thought was that it was shot on video. Some of the scenes definitely lacked the sharp crispness of film and I was surprised to see the Kodak logo in the end credits. I was also surprised that they could shoot it on film and keep it in the AUD1M budget. Shooting on video could have actually added a grainy dimension which would suit this film noir genre. The choice of music was as good as it gets.