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Mick Davis (screenplay) and
Christine Roum (screenplay) ...
(more)
27 April 2007 (USA) more
Life, death and something in between. more
After an attack leaves him in limbo -- invisible to the living and also near death -- a teenager discovers the only person who might be able help him is his attacker. full summary | full synopsis
1 nomination more
10 Most Underrated Young Actors
(From The Movie Fanatic. 12 October 2009, 7:54 PM, PDT)
10 Most Underrated Young Actors
(From The Movie Fanatic. 12 October 2009, 7:54 PM, PDT)
Intriguing Premise Completely Wasted more (247 total)
Directed by | |||
| David S. Goyer | |||
Writing credits(WGA) | ||
| Mick Davis | (screenplay) and | |
| Christine Roum | (screenplay) | |
| Mats Wahl | (novel "Den Osynlige") | |
Produced by | |||
| Gary Barber | .... | producer | |
| William S. Beasley | .... | executive producer | |
| Roger Birnbaum | .... | producer | |
| Neal Edelstein | .... | producer | |
| Jonathan Glickman | .... | producer | |
| Mike Macari | .... | producer | |
| Peter Possne | .... | executive producer | |
| Rebekah Rudd | .... | co-producer | |
| Erin Stam | .... | co-producer | |
Original Music by | |||
| Marco Beltrami | |||
Cinematography by | |||
| Gabriel Beristain | (director of photography) | ||
Film Editing by | |||
| Conrad Smart | |||
Casting by | |||
| Juel Bestrop | |||
| Seth Yanklewitz | |||
Production Design by | |||
| Carlos Barbosa | |||
Art Direction by | |||
| Michael N. Wong | (as Michael Norman Wong) | ||
Set Decoration by | |||
| Peter Lando | |||
Costume Design by | |||
| Tish Monaghan | |||
Makeup Department | |||
| Monica Huppert | .... | makeup artist | |
| Debra Wiebe | .... | hair stylist | |
| Nicholas Podbrey | .... | special effects makeup coordinator (uncredited) | |
Second Unit Director or Assistant Director | |||
| Scott J. Ateah | .... | second unit director (as Scott Ateah) | |
| Chad Belair | .... | trainee assistant director | |
| Molly Clayton | .... | trainee assistant director | |
| Adrian Diepold | .... | third assistant director | |
| Cindy Smith | .... | second assistant director | |
| Pete Whyte | .... | first assistant director | |
Art Department | |||
| John Alvarez | .... | assistant art director (as James J. Alvarez) | |
| Allan Burdett | .... | construction coordinator (as Alan D. Burdett) | |
| Haida Harper | .... | assistant property master | |
| Leah Hong | .... | graphic designer | |
| Bryan Korenberg | .... | property master | |
| Kathy Linder | .... | set supervisor | |
| Jim Ramsay | .... | set designer | |
| Andrew Reid | .... | assistant set decorator (as Andrew Eden Reid) | |
| Mark Soparlo | .... | assistant art director (as Mark M. Sopario) | |
| Mario Tomas-Niedworok | .... | scenic artist (as Mario Tomas) | |
| James Doh | .... | storyboard artist (uncredited) | |
| Tiara Motem | .... | property buyer (uncredited) | |
Special Effects by | |||
| Rory Cutler | .... | special effects coordinator | |
| Kevin Carter | .... | special effects contact lenses (uncredited) | |
| Ian Korver | .... | special effects assistant (uncredited) | |
Visual Effects by | |||
| Billy Barnhart | .... | I/O manager: Gray Matter Visual Effects | |
| Billy Barnhart | .... | compositor: Gray Matter Visual Effects | |
| Jamie Baxter | .... | digital compositor: Custom Film Effects | |
| Ryan Beadle | .... | digital I/O: Custom Film Effects | |
| Joseph Brattesani | .... | compositor: Gray Matter Visual Effects (as Joey Brattesani) | |
| Steve Caldwell | .... | digital compositor: Custom Film Effects | |
| Stuart Cripps | .... | compositor: Gray Matter Visual Effects | |
| Dennis Dorney | .... | digital editorial: Custom Film Effects | |
| Mark Dornfeld | .... | visual effects supervisor: Custom Film Effects | |
| Shelly Dutcher | .... | compositor: Gray Matter Visual Effects | |
| Michele Ferrone | .... | producer: visual effects, Custom Film Effects | |
| Adam Gass | .... | digital editorial: Custom Film Effects | |
| R.J. Harbour | .... | digital compositor: Custom Film Effects | |
| Shaina Holmes | .... | digital compositor: Custom Film Effects | |
| Shaina Holmes | .... | digital coordinator: Custom Film Effects | |
| Kristin Johnson | .... | compositor: Gray Matter Visual Effects | |
| Eric Jordan | .... | systems administrator: Gray Matter Visual Effects | |
| Nicholas Kim | .... | digital compositor: Custom Film Effects | |
| Christopher Kutcka | .... | digital imaging supervisor: Technicolor Digital Intermediates (as Chris Kutcka) | |
| Margaux Mackay | .... | visual effects producer: Gray Matter Visual Effects | |
| Gray Marshall | .... | visual effects supervisor: Gray Matter Visual Effects | |
| Lori C. Miller | .... | digital art supervisor: Custom Film Effects (as Lori Miller) | |
| Jennifer Mizener | .... | visual effects producer: Gray Matter Visual Effects | |
| Lillani E. Moran | .... | visual effects coordinator: Custom Film Effects | |
| Erin L. Nelson | .... | digital restoration | |
| Jeff Olm | .... | compositor: Gray Matter Visual Effects | |
| Laurie Powers | .... | digital art supervisor: Custom Film Effects | |
| Mark Sawicki | .... | digital compositor: Custom Film Effects | |
| Trent Shumway | .... | compositor: Gray Matter Visual Effects | |
| Colleen Smith-Brattesani | .... | compositor: Gray Matter Visual Effects (as Colleen Smith) | |
| Wilson Tang | .... | digital restoration | |
| Amani Williams | .... | digital compositor: Custom Film Effects | |
| Zac Chowdhury | .... | digital artist (uncredited) | |
| Sam Dabbs | .... | compositor (uncredited) | |
| Chris Dawson | .... | motion control camera operator (uncredited) | |
| Jeremy Lang | .... | head of information technology: Custom Film Effects (uncredited) | |
| Mike Leben | .... | motion control operator (uncredited) | |
Animation Department | |||
| Corey Bramall | .... | digital artist | |
| John Robson | .... | animator: titles | |
Casting Department | |||
| Ruthie Brownfield | .... | casting associate | |
| James Moore | .... | casting assistant | |
| Jacquelyn Palmquist | .... | casting assistant | |
| Stephanie Pheifer | .... | casting assistant (as Stephanie Pfeifer) | |
| Heike Brandstatter | .... | casting: Vancouver (uncredited) | |
| Coreen Mayrs | .... | casting: Vancouver (uncredited) | |
Costume and Wardrobe Department | |||
| Kathy Linder | .... | costume supervisor | |
| Karin Nosella | .... | assistant costume designer | |
| Jody Leanne Petford | .... | costumer: truck | |
Editorial Department | |||
| Tony Bacigalupi | .... | first assistant editor | |
| Jill Bogdanowicz | .... | digital film colorist: Technicolor Digital Intermediates | |
| Bob Peishel | .... | digital intermediate producer: Technicolor Digital Intermediates | |
| Giselle Ponce | .... | apprentice editor | |
| Everette Webber | .... | digital intermediate conform & opticals: Technicolor Digital Intermediates | |
| Lee Wimer | .... | color timer | |
Music Department | |||
| William Boston | .... | orchestrator (as Bill Boston) | |
| Angie Correa | .... | music coordinator | |
| Chris Cozens | .... | auricle control systems | |
| Rossano Galante | .... | orchestrator | |
| Isobel Griffiths | .... | music contractor | |
| Nick Ingman | .... | conductor | |
| John Kurlander | .... | score mixer | |
| John Kurlander | .... | score recordist | |
| Kate McCombs | .... | music coordinator | |
| Dana Niu | .... | orchestrator | |
| Jenny O'Grady | .... | choir master | |
| Alexandra Patsavas | .... | music supervisor | |
| Lise Richardson | .... | music editor | |
| Buck Sanders | .... | score co-producer | |
| Jill Streeter | .... | music preparation (as Jill Streater) | |
| Philip Tallman | .... | music editor | |
| Marcus Trumpp | .... | orchestrator (as Marcus Trumpt) | |
| Rachel Weston | .... | musician: solo soprano | |
| Booker White | .... | music preparation | |
| Gavin Wright | .... | concert master | |
| Marcus Trumpp | .... | composer: additional music (uncredited) | |
| Andrea von Foerster | .... | music coordinator (uncredited) | |
Transportation Department | |||
| Wayne Power | .... | transportation captain (as Wayne Newfi Power) | |
| Miroslaw Syta | .... | driver | |
| Rob Vreugde | .... | transportation coordinator | |
| Larry Tardif | .... | driver: insert car (uncredited) | |
Other crew | |||
| Max Armstrong | .... | pre-vizualization technician | |
| Anzhey Barantsevich | .... | controller: Gray Matter Visual Effects | |
| Debbie Barlow | .... | assistant accountant | |
| Andrew Bronstein | .... | assistant production coordinator | |
| Rich Brown | .... | assistant accountant | |
| Richard C. Burton | .... | stand-in | |
| Kim Buttlar | .... | executive coordinator: Gary Barber | |
| Simon Carrigan | .... | first assistant coordinator | |
| Jeffrey Chernov | .... | production executive | |
| Kimberly Clarke | .... | background coordinator | |
| Mathew Collings | .... | location production assistant | |
| Geoffrey Dodd | .... | location production assistant (as Geoffrey James Dodd) | |
| Ian Doig | .... | animal coordinator | |
| Karen Eisenstadt | .... | production accountant | |
| Julia Frittaion | .... | unit publicist | |
| Sean Grant | .... | assistant location manager | |
| Charles Haugk | .... | product placement (as Charlie Haugk) | |
| Louise M. Hetherington | .... | craft service (as Louise Heatherington) | |
| Louise M. Hetherington | .... | first aid (as Louise Heatherington) | |
| Krista Huppert | .... | accounting clerk | |
| Aaron Janus | .... | assistant: Jonathan Glickman | |
| Alexandra Jastrzembska | .... | production assistant | |
| Dylan Jenkinson | .... | second assistant production coordinator | |
| Joanne Kennett | .... | alternating accounting clerk | |
| Sue Kittler | .... | location scout | |
| Jakub Kowalski | .... | location production assistant | |
| Ashley Kravitz | .... | rights clearances | |
| Natalie Bae Lauzon | .... | production office coordinator: Gray Matter Visual Effects | |
| Glynis Lynn | .... | assistant: David S. Goyer | |
| Grace MacLeod | .... | animal trainer | |
| Gwen MacQueen | .... | alternating accounting clerk | |
| Danny McWilliams | .... | location manager | |
| Matej Mecar | .... | photo double | |
| Jennifer Metcalfe | .... | production coordinator | |
| Janet D. Munro | .... | script supervisor | |
| Willa Potter | .... | location production assistant: Washington D.C. | |
| Benjamin R. Reder | .... | production counsel | |
| Michael Riley | .... | title designer | |
| Michael Roberts | .... | assistant location manager | |
| Weatie Rosenlehner | .... | assistant: David S. Goyer | |
| Stephane Savoie | .... | photo double | |
| Stephane Savoie | .... | stand-in | |
| Tara A. Senior | .... | production counsel | |
| Ryan Steacy | .... | armorer | |
| Marlena Thomas | .... | executive coordinator: Roger Birnbaum | |
| Kyle 'Eightball' Weldon | .... | trainee location manager | |
| Fleur Western | .... | key office production assistant: reshoots | |
| Tamara Grace Wiebe | .... | office production assistant | |
| Shayne A. Wilson | .... | assistant: William S. Beasley | |
| Peter Zimmerman | .... | location production assistant | |
| Scott Steyns | .... | playback coordinator (uncredited) | |
| Shayne A. Wilson | .... | script and clearance coordinator (uncredited) | |
Rated PG-13 for violence, criminality, sensuality and language - all involving teens.
102 min
2.35 : 1 more
SDDS | Dolby Digital | DTS
Canada:13+ (Quebec) | Canada:14A (Alberta/Manitoba) | Canada:PG (British Columbia/Ontario) | USA:PG-13 (certificate #42920) | Germany:12 | UK:12A | Portugal:M/12 | Argentina:13 | Singapore:NC-16 | Malaysia:18PL | Australia:M | South Korea:18 | Finland:K-13 | Iceland:14
Burnaby Mountain Secondary School, Burnaby, British Columbia, Canada more
"The Invisible" is based on the Swedish film Den osynlige (2002), which was very loosely inspired by a novel of the same name by the Swedish writer Mats Wahl. more
Factual errors: The car hot wired outside the jewlery store is a Mercedes Benz with an ignition system that cannot be started in any way at all without the electronic key. This system is called DAS, Drive Authorization System. There is no way they could have started that car without the key to 'authorize' the starting of the vehicle. more
[first lines]
Diane Powell:
It wasn't easy when Nick's father died, raising a teenager alone. But with a boy like Nick, well, he is now everything a mother could want. We've been through some hard times. We've carried each other. Now I look to the future, and I know there's nothing that we can't do together.
more
References "Sesame Street" (1969) more
02.20 Boy more
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While the idea of having someone linger between life and death, invisible to the world at large, is intriguing, it gets lost in a confusing morass of a script here. "The Invisible" features one of those stereotypical small female "tough guys" who are somehow capable of not only ordering larger males around to do their bidding, but also to physically intimidate and beat them up. Wow- we've never seen anything like that before from Hollywood! Annie, the tough high school girl who always wears a stocking cap on her pretty little head, is evidently the leader of a ridiculous "gang," which consists of three other males. Two of them are fellow students, who somehow obey her orders (why?) The other is an adult, her boyfriend, who is on probation and obviously has a criminal past. Annie is mad- you know, the teen angst we've seen from Hollywood ever since "Rebel Without A Cause." The only rationale behind her anger, and subsequent life of crime, is that her mother died. Her father is shown only as a laborer who works nights; he doesn't seem to be a bad guy, but Annie tells him at one point that she plans to come back and kill him. Huh? Motive? Yes, her stepmother seems irresponsible, and doesn't appear to be parenting Annie's younger brother properly, but really there is nothing in her home life to justify her perpetual, Brando-like sneer, or the crimes she commits.
There are so many absurd scenes in this film. How about the cops who question Annie, after they've found stolen jewelry in her locker? Annie treats the cops with disdain, as she does everyone, and is totally fearless under their questioning. This questioning is almost nonexistent, and after a few softballs, she simply walks out. Huh? Why wasn't she charged with anything? If she was, how did she get out? Did her incredibly poor family place bail somehow? Then there is the male cop questioning Annie's adult boyfriend. This cop doesn't even touch on the issue of statutory rape. He doesn't realize that this boyfriend, who is obviously an adult (probably at least 25), is engaged in an illegal relationship with this underage high school girl? Nope- nothing said about that, just more typical Hollywood cop mumbo-jumbo. Later, Annie will overpower this much larger, criminal adult boyfriend, while he is armed, and then make a few amazing, superhero type jumps as a slew of police officers simply watch her passively, refusing to chase her at all. One of the most ridiculous scenes I've ever seen in any film.
Of all the odious messages "The Invisible" sends the audience, the most twisted is the tired old bad girl is actually good at heart nonsense. This used to be a staple of film scripts, but almost always with the bad character being the bad boy, who somehow attracts the sweet heroine away from the boring boy next door. No telling how many girls absorbed that disastrous message and left a nice guy for some future alcoholic- wife beater, because Hollywood basically told them it was the "cool" thing to do. Anyhow, Annie is shown to be actually a good kid at heart, even if she is behind the attempted murder of the main character, who inexplicably ends up loving her anyway. She also kills her boyfriend, tries to kill the main characters best friend, and commits several other crimes. But, she does have a soft spot for her kid brother, so how could we not fall in love with her? Finally, the movie climaxes with a totally unexplained and absurd gimmick whereby Annie is the only one who can bring the hero Nick back to life. This is done by her talking to him as he lays unconscious in a hospital bed, and then laying down next to him and bleeding all over him (she had been shot earlier by her boyfriend, but seeing as how she is so tough and all, Annie is able to walk around for hours, and even evade the police during a tired, hackneyed car chase scene, with a gunshot wound to her abdomen). Yes, this makes perfect sense. Of course, how else could the hero be saved? Overall, this is an unoriginal, horrible film.