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Directed by | |||
| Michael Mann | |||
Writing credits(WGA) | ||
| Gregory Allen Howard | (story) | |
| Stephen J. Rivele | (screenplay) & | |
| Christopher Wilkinson | (screenplay) and | |
| Eric Roth | (screenplay) & | |
| Michael Mann | (screenplay) | |
Produced by | |||
| Paul Ardaji | .... | producer | |
| Howard Bingham | .... | executive producer | |
| Lee Caplin | .... | executive producer | |
| Gusmano Cesaretti | .... | associate producer | |
| A. Kitman Ho | .... | producer | |
| Graham King | .... | executive producer | |
| James Lassiter | .... | producer | |
| Michael Mann | .... | producer | |
| Jon Peters | .... | producer | |
| João Ribeiro | .... | consulting producer | |
| John D. Schofield | .... | co-producer | |
| Kathleen M. Shea | .... | associate producer | |
| Michael Waxman | .... | co-producer | |
Original Music by | |||
| Pieter Bourke | |||
| Lisa Gerrard | |||
Cinematography by | |||
| Emmanuel Lubezki | |||
Film Editing by | |||
| William Goldenberg | |||
| Lynzee Klingman | |||
| Stephen E. Rivkin | (as Stephen Rivkin) | ||
| Stuart Waks | |||
Casting by | |||
| Victoria Thomas | |||
Production Design by | |||
| John Myhre | |||
Art Direction by | |||
| Jonathan Lee | |||
| Bill Rea | |||
| Tomas Voth | |||
Set Decoration by | |||
| Jim Erickson | |||
| Tricia Schneider | |||
Costume Design by | |||
| Marlene Stewart | |||
Makeup Department | |||
| Pierce Austin | .... | hair stylist: Mr. Smith | |
| Mary 'Dugan' Buono | .... | hair stylist | |
| Greg Cannom | .... | special makeup effects artist | |
| Mary Cooke | .... | key hair stylist | |
| Shirley Dolle | .... | key hair stylist | |
| C. Romania Ford | .... | makeup artist | |
| Mark Garbarino | .... | prosthetic makeup artist: Mr. Voight | |
| Keith Hall | .... | makeup artist | |
| Glen Hanz | .... | sculptor | |
| Connie Kallos | .... | additional hair stylist: Chicago | |
| Erma Kent | .... | hair stylist | |
| John Kim | .... | makeup effects technician: Captive Audience Productions | |
| Mary Kim | .... | makeup effects production supervisor: Captive Audience Productions Inc. | |
| Nick Marra | .... | sculpture designer: Mr. Voight | |
| Cat'ania McCoy-Howze | .... | key makeup artist: Chicago unit | |
| Vera Mitchell | .... | hair department head | |
| Judy Murdock | .... | makeup artist: Mr. Smith | |
| Suzi Ostos | .... | makeup artist | |
| Nadyne Peoples | .... | additional makeup artist | |
| Michael Peterson | .... | makeup effects technician | |
| Margaret Prentice | .... | prosthetic makeup | |
| Beverly Jo Pryor | .... | makeup department head | |
| Joseph Michael Regina | .... | key makeup artist | |
| Brian Sipe | .... | prosthetic effects supervisor | |
| Roddy Stayton | .... | additional hair stylist | |
| Froylan Tercero | .... | makeup effects technician | |
| Alicia M. Tripi | .... | hair stylist | |
| Laine Trzinski | .... | hair stylist (as Elaine M. Cascio) | |
| Todd Tucker | .... | makeup effects technician | |
| Keith VanderLaan | .... | makeup effects producer: Captive Audience Productions | |
| Kenneth Walker | .... | hair stylist | |
| Wesley Wofford | .... | prosthetic effects supervisor | |
| Michael F. Blake | .... | makeup artist (uncredited) | |
| Anita Brabec | .... | makeup artist (uncredited) | |
| Jay Cannistraci | .... | makeup artist (uncredited) | |
| Donna Cicatelli-Lewis | .... | makeup artist (uncredited) | |
| Kim Collea | .... | makeup artist (uncredited) | |
| Timothy A. Miguel | .... | makeup artist (uncredited) | |
| James Parr | .... | special makeup effects technician (uncredited) | |
| Michael Peterson | .... | lab makeup effects (uncredited) | |
| Justin Raleigh | .... | key special makeup effects technician: Mr. Voight (uncredited) | |
| Marsha Shearrill | .... | makeup artist: second unit, Chicago (uncredited) | |
| Brian Sipe | .... | fight makeup key artist (uncredited) | |
Special Effects by | |||
| Christina Carothers | .... | special effects technician | |
| Steve King | .... | special effects technician (as Steven King) | |
| Mark Nieman | .... | silicone technician | |
| Art Pimentel | .... | mold shop supervisor (as Arthur Pimentel) | |
| Alan Poole | .... | special effects supervisor: Mozambique | |
| Max Poolman | .... | special effects supervisor: South Africa | |
| Corey Pritchett | .... | special effects foreman | |
| Peter Skehan | .... | special effects floor supervisor: Mozambique | |
| Richard Starke | .... | silicone technician | |
| David H. Watkins | .... | special effects coordinator | |
| Christopher West | .... | special effects coordinator: Mozambique | |
Visual Effects by | |||
| Matthew Adams | .... | rotoscope supervisor: Cinesite | |
| Jonathan Alvord | .... | Avid editor | |
| Jeffrey Edward Baksinski | .... | motion tracking supervisor: Cinesite | |
| Lynn Basas | .... | CG supervisor: Cinesite | |
| Wally Chin | .... | 3D technical assistant | |
| Harmon Cusack | .... | visual effects camera operator | |
| Joe Dubs | .... | digital artist: Cinesite | |
| Kevin Elam | .... | visual effects producer: Cinesite | |
| Kurt Hall | .... | video & computer graphics technician | |
| Michael Hofacre | .... | visual effects editor | |
| Dennis Hoffman | .... | head of production: Cinesite | |
| Arkay Hur | .... | digital artist: Cinesite | |
| Kent Johnson | .... | visual effects coordinator (as Kent Richard Johnson) | |
| Bridgitte Krupke | .... | visual effects coordinator: Cinesite (as Bridgette Nance) | |
| Nathan Lafionatis | .... | video consultant | |
| Krystine Lankenau | .... | digital artist: Cinesite | |
| Vincent Lavares | .... | digital asset manager: Cinesite Hollywood | |
| Don Lee | .... | digital compositor: CREO | |
| Andrew MacDonald | .... | compositor | |
| Michael J. McAlister | .... | visual effects supervisor | |
| Valerie McMahon | .... | digital artist: Cinesite | |
| Sal Migliore | .... | high def digitizing | |
| Kama Moiha | .... | digital compositor: Cinesite | |
| Oliver Moore | .... | CG character animator: Cinesite | |
| Bill Murphy | .... | visual effects coordinator | |
| Karen M. Murphy | .... | visual effects consultant | |
| Serena Naramore | .... | digital compositor: Cinesite | |
| Leslie Oliver | .... | visual effects producer: CREO | |
| Chad Owen | .... | digital artist: Cinesite | |
| James Peterson | .... | CG effects animator: Cinesite | |
| Corinne Pooler | .... | paint supervisor: Cinesite | |
| Dante Quintana | .... | CG modeler: Cinesite | |
| Dante Quintana | .... | digital artist | |
| Jon Quon | .... | technical assistant: Cinesite | |
| Liz Radley | .... | video & computer graphics supervisor | |
| Jerry Sells | .... | compositing supervisor: Cinesite | |
| Anthony Serenil | .... | motion tracker: Cinesite | |
| Robert Stadd | .... | visual effects producer | |
| Deborah Wiltman | .... | digital compositor: Cinesite | |
| Steve Wright | .... | stitch cam digital compositor: Cinesite | |
| Travis Baumann | .... | Inferno artist (uncredited) | |
| Lindsay Burnett | .... | visual effects producer: Asylum (uncredited) | |
| Robert Coquia Jr. | .... | 3D technical assistant (uncredited) | |
| Fred Jimenez | .... | 2D technical assistant (uncredited) | |
| Kevin LaNeave | .... | video editor (uncredited) | |
| John Nelson | .... | visual effects supervisor: preproduction (uncredited) | |
| Alex G. Ortoll | .... | main title sequence compositor (uncredited) | |
| Mark Robben | .... | Inferno artist: CREO (uncredited) | |
| Antonio Torres | .... | roto artist: Cinesite (uncredited) | |
Stunts | |||
| Roy T. Anderson | .... | stunt double: Mario Van Peebles | |
| Joel Kramer | .... | stunt coordinator | |
| Richard Lexsee | .... | stunts | |
| Kevin Morrow | .... | stunts | |
| Larry C. Tankson | .... | stunts (as Larry Tankson) | |
| Randolph LeRoi | .... | stunt double: Will Smith (uncredited) | |
Casting Department | |||
| Nicole Abellera | .... | casting assistant | |
| Petrie Alexandra | .... | casting associate: Los Angeles | |
| Kim Coleman | .... | casting associate | |
| Shirley Fulton Crumley | .... | location casting | |
| Vicki Jo Hertz | .... | extras casting associate: Chicago | |
| Sandy Holt | .... | adr voice casting | |
| Ellen Jacoby | .... | extras casting | |
| Jennifer Layton | .... | casting assistant | |
| Alison E. McBryde | .... | casting: New York | |
| Joan Philo | .... | extras casting | |
| Paul Richter | .... | casting assistant | |
| Christa Shamberger | .... | casting: South Africa (as Christa Schamberber) | |
| Claire Simon | .... | casting: Chicago | |
| Franklyn Warren | .... | extras casting | |
| Summer Wesson | .... | extras casting: Los Angeles | |
| Rachel Winn | .... | extras casting assistant | |
| Jillian Jester | .... | extras casting assistant (uncredited) | |
| Ka-Mook Nichols | .... | casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Robert Bolger | .... | costumer | |
| Artemio Carpio | .... | costumer | |
| John Casey | .... | costume supervisor | |
| Holly Davis | .... | key costumer | |
| Karan Doherty | .... | costumer | |
| Jeanne DuPont | .... | assistant costume designer | |
| Patrick Guzzo | .... | costumer | |
| Karen Hare | .... | costumer | |
| Lori Harris | .... | costumer | |
| Emelle Holmes | .... | costumer | |
| Heather Holmes | .... | costumer | |
| Lisa Hyde | .... | costumer | |
| Jessica Jorde | .... | wardrobe assistant | |
| Jo Katsaras | .... | costume supplier | |
| Carolyn Marston | .... | costumer: Mozambique | |
| Sukari McGill | .... | set costumer | |
| Elizabeth Meredith | .... | wardrobe assistant | |
| Sybil Mosely | .... | costumer | |
| Gina Marie Ome | .... | set costumer | |
| Christine Orth | .... | key costumer | |
| Ellen Ryba | .... | assistant costume designer | |
| Carolyn Schnitzer | .... | costume supervisor: Miami | |
| Dalhia Schuette | .... | costumer | |
| Catherine Wall | .... | cutter/fitter | |
| George Sartiano | .... | specialty costumes (uncredited) | |
| Thao T. Vu | .... | costume assistant (uncredited) | |
Editorial Department | |||
| Gordon Antell | .... | first assistant editor: avid | |
| Lori Ball | .... | assistant editor | |
| Kenny Becker | .... | co-color timer | |
| Rayford Berrymon | .... | assistant editor | |
| Gary Burritt | .... | negative cutter | |
| Bryan H. Carroll | .... | associate editor | |
| Timothy Colletti | .... | assistant film editor | |
| Rolando Diaz | .... | telecine dailies | |
| Alex Hepburn | .... | assistant editor: avid | |
| Michael Hofacre | .... | assistant editor | |
| Adam Kimmerlin | .... | editorial production assistant | |
| Robert Komatsu | .... | assistant editor | |
| Gene A. Lewis Jr. | .... | editorial production assistant | |
| Edward Malone | .... | first assistant film editor | |
| Jim Passon | .... | co-color timer | |
| Brett Reed | .... | apprentice editor | |
| Mike Sowa | .... | high-definition color timer | |
| Marianne Urioste | .... | assistant editor | |
| Kim Roseborough | .... | assistant editor: location (uncredited) | |
Music Department | |||
| Tim Boot | .... | music playback operator | |
| Bill Brown | .... | composer: additional music | |
| Debbi Datz-Pyle | .... | music contractor | |
| Steve Durkee | .... | music mixer | |
| Vicki Hiatt | .... | music editor | |
| Julie Glaze Houlihan | .... | music coordinator | |
| Lisa Jaime | .... | music editor | |
| Kenneth Karman | .... | supervising music editor | |
| Stephanie Lowry | .... | music editor | |
| Christine H. Luethje | .... | coordinating music editor (as Christine Luethje) | |
| Sonnet H. Retman | .... | music consultant | |
| Sonnet H. Retman | .... | music researcher | |
| John Rodd | .... | orchestral scoring recordist | |
| James T. Sale | .... | conductor | |
| James T. Sale | .... | orchestrator | |
| Dennis S. Sands | .... | music scoring mixer | |
| Steven Scott Smalley | .... | conductor | |
| Steven Scott Smalley | .... | orchestrator | |
| Martin Tillman | .... | composer: additional music | |
| Dan Wallin | .... | music scoring mixer | |
| Michael Farrow | .... | additional music mixer (uncredited) | |
| Joseph Magee | .... | production music mixer (uncredited) | |
Transportation Department | |||
| Michael W. Broomer | .... | driver: Mr. Smith (as Michael Broomer) | |
| K.C. Colebrooke | .... | transportation co-captain | |
| David Glasscoe | .... | action vehicle assistant | |
| Barry E. Golob | .... | driver: Mr. Mann (as Barry Golob) | |
| Brian Hathaway | .... | transportation coordinator | |
| Chad Moore | .... | production driver | |
| Robert Nagle | .... | driver: Michael Mann | |
| Robert Nagle | .... | transportation co-captain | |
| Andrew Orlando | .... | action vehicle coordinator | |
| Mick Snell | .... | transportation coordinator: South Africa | |
| John Yarbrough | .... | transportation cars | |
| Michael R. Cairo | .... | driver: Chicago second unit (uncredited) | |
| George Grenier | .... | driver (uncredited) | |
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| The Greatest | Malcolm X | Ray | Glory | Raging Bull |
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Ali is a film that both succeeds and fails at the same time. Will Smith's performance was very solid, yet I never was able to shake the feeling that on screen it was Will Smith playing Muhammad Ali and not simply Muhammad Ali. Perhaps that is through no fault of his. He truly does a great impression of the fighter. The script is again decent, centering on several facets of the star's life that go beyond the sports pages. However, overall the whole project has a rather distant feel. The viewer rarely is truly captivated by what is occurring. Michael Mann's characteristic documentary-esque filming style works well in parts, but services to alienate the viewer in others. Yes, it feels as though you are almost watching a documentary in many cases, as if the viewer is a bystander to the circumstances at hand, but this is a work of drama, not a documentary. I wish someone had told Mann to stop shaking the camera and shifting to view Ali between the standard stock of blurred reporters for a few seconds and do a more typically dramatic shot. With Heat and The Insider, Mann managed to pull off this style successfully. In Ali he does not. In many cases conversations begin to rise but then only dissipate before anything really gripping has been said. Simply put, this film could have used a few more motivational speeches along the lines of a Rocky film. Perhaps it wouldn't have been as accurate, but it would have serviced a more dramatic story, at least one where the viewer really felt involved. Ali goes through two wives in the film and in neither case do they even serve to get very angry with him. Voices begin to rise and then either the woman or Ali leaves the room. The scene ends without any heavy emotion other than stern faces being shown. He's divorced a few minutes later. The fight scenes also have a lack of emotion. The film style is interesting and visually stimulating, but it could have used a few `it's over Rock!' lines here and there to punctuate things.
Mann's standard use of music again fails in many cases here. Whereas in "historical" films like Forrest Gump period music is used to punctuate a dramatic score, in Ali it is almost the sole backing track of the film. There is scarcely any musical score involved. When it is used, it often seems like it was just pieced together from leftovers to provide ambience. In a few key dramatic scenes, the pop ditties being played (although sometimes fitting lyrically) really end up being a distraction. The death of Malcolm X is a prime example. Ali's close friend has just been killed and you're just waiting for a rising orchestral number (however cliche and standard it may be, that's what you're looking for), but instead you get a period song that, at this point in the film, is beginning to sound like half a dozen others before it. In several cases Mann's musical style does work (Ali's jog through the streets of Zaire being an example, the closing number another) but the technique fails overall.
I've mostly criticized this film, which should not be the only viewpoint, because cinematically it is a fine work. There doesn't need to be another Ali film made, as this will service his legacy nicely. It has flaws, but I point out these flaws taking for granted just how good much of it is. The banter between Ali and Howard Cosell (Jon Voight, who completely disappears into this role) is classic, and work by Jaime Foxx and Mario Van Peebles (as Malcolm X) is solid as well. Michael Mann knows how to handle a film and I would rather watch a sub-par outing from him than most of what Hollywood produces any day. He's just done better. Some script work and a better musical score could have pushed this good film to greatness.
7/10