| Photos (see all 16 | slideshow) | Videos |
| Paul Bettany | ... | Nicholas | |
| Marián Aguilera | ... | Nicholas' Lover | |
| Trevor Steedman | ... | Jealous Husband | |
| Simon McBurney | ... | Stephen | |
| Tom Hardy | ... | Straw | |
| Brian Cox | ... | Tobias | |
| Willem Dafoe | ... | Martin | |
| Gina McKee | ... | Sarah | |
| Stuart Wells | ... | Springer (as George Wells) | |
| Vincent Cassel | ... | Lord De Guise | |
| Elvira Mínguez | ... | Martha | |
| Richard Durden | ... | Town Justice | |
| Ewen Bremner | ... | Simon Damian | |
| Mark Benton | ... | Sheriff | |
| Hamish McColl | ... | Innkeeper | |
| Matthew Macfadyen | ... | King's Justice | |
| Luke de Woolfson | ... | Daniel | |
| Niall Buggy | ... | Priest | |
| Julian Barratt | ... | Gravedigger | |
| Luisa Requena Baron | ... | Baker | |
| Pedro Martinez De Dioni | ... | Carpenter | |
| Tom Georgeson | ... | Flint | |
| Simon Pegg | ... | Gaoler | |
| Teresa Berganza | ... | Wells' Mother (as Maria Berganza) | |
| Rafa Izuzkiza | ... | Wells' Father (as Rafa Izuzquiza) | |
| José Luis Martínez Gutiérrez | ... | Man at Play (as Jose Luis Martinez) | |
| Valerie Pearson | ... | Woman at Play | |
| James Cosmo | ... | Lambert | |
| Balbino Lacosta | ... | Chamberlain | |
| Heathcote Williams | ... | Undertaker | |
| David Luque | ... | Captain of the Guard |
Directed by | |||
| Paul McGuigan | |||
Writing credits | ||
| Barry Unsworth | (novel "Morality Play") | |
| Mark Mills | (screenplay) | |
Produced by | |||
| Mark Albela | .... | associate producer | |
| Stephen Evans | .... | executive producer | |
| Angus Finney | .... | executive producer | |
| Sarah Halioua | .... | co-producer | |
| Denise O'Dell | .... | co-producer | |
| Andrew Warren | .... | line producer | |
| Caroline Wood | .... | producer | |
Original Music by | |||
| Adrian Lee | |||
| Mark Mancina | |||
Cinematography by | |||
| Peter Sova | |||
Film Editing by | |||
| Andrew Hulme | |||
Casting by | |||
| Jina Jay | |||
Production Design by | |||
| Andrew McAlpine | |||
Art Direction by | |||
| Julian Ashby | |||
| John Ralph | (supervising art director) | ||
| Jordi Yria Roca | |||
Set Decoration by | |||
| Anna Pinnock | |||
Costume Design by | |||
| Yvonne Blake | |||
Makeup Department | |||
| María Carmen Clavel | .... | makeup artist (as María Del Carmen Clavel) | |
| Caroline Frazer | .... | makeup artist | |
| Ana Belén Galiano Pérez | .... | crowd makeup artist | |
| Sue Ignatius | .... | makeup artist | |
| Maureen McGill | .... | hair stylist | |
| Sarah Monzani | .... | chief makeup designer | |
| Carmela Perez | .... | crowd makeup artist | |
| Graham Pownall | .... | personal hair stylist: Mr. Cox and Mr. McFadyan | |
| Simon Thompson | .... | chief hair designer | |
Second Unit Director or Assistant Director | |||
| Matthew Baker | .... | second assistant director | |
| Iñaki Beraza | .... | third assistant director: Spain | |
| Yousaf Bokhari | .... | first assistant director | |
| Joe Geary | .... | third assistant director | |
| Andrew Hulme | .... | second unit director | |
| Juan Jiménez | .... | second assistant director | |
| Alex Oakley | .... | additional second assistant director | |
| Mary Soan | .... | first assistant director: UK | |
Sound Department | |||
| Tim Alban | .... | sound re-recording mixer | |
| Antonio Bloch | .... | production sound mixer | |
| Edward Bulman | .... | foley editor (as Ed Bulman) | |
| Ricky Butt | .... | foley artist | |
| Jens Christensen | .... | sound re-recording mixer | |
| Sara Fijo | .... | boom operator | |
| Susan French | .... | dialogue editor | |
| Matt Grimes | .... | supervising sound editor | |
| Alistair Hawkins | .... | assistant sound editor | |
| John Hughes | .... | sound | |
| Dean Humphreys | .... | sound re-recording mixer (as Dean Humphries) | |
| Hugh Johnson | .... | sound re-recording mixer | |
| Andy Kennedy | .... | sound effects editor | |
| Melissa Lake | .... | foley artist | |
| Keith Marriner | .... | supervising dialogue editor | |
| Leslie Mona Mathis | .... | adr mixer: New York | |
| Jody Nazzaro | .... | adr recordist: New York | |
| Steve Schwalbe | .... | adr editor | |
| Graeme Stoten | .... | foley editor | |
| Ruth Sullivan | .... | foley artist | |
| Jason Swanscott | .... | foley artist | |
| Richard Todman | .... | additional adr editor | |
| John Warhurst | .... | additional adr editor | |
| Bernard O'Reilly | .... | sound editor (uncredited) | |
Special Effects by | |||
| César Abades | .... | special effects coordinator | |
| Óscar Abades | .... | special effects assistant | |
| Reyes Abades | .... | special effects | |
| Ángel Alonso | .... | special effects coordinator | |
| Stuart Brisdon | .... | special effects supervisor: UK | |
| Román Cabrera | .... | special effects assistant | |
| Juan Carlos Corroto | .... | special effects assistant | |
| Mark Haddenham | .... | special effects senior technician | |
| Martin 'Marty' McLaughlin | .... | senior snow effects technician | |
| Juan Carlos Urbán | .... | special effects assistant | |
| Joaquin Vergara | .... | special effects | |
Visual Effects by | |||
| Mark Bakowski | .... | digital compositor | |
| Steve Boag | .... | titles and opticals | |
| Dave Early | .... | digital matte painter (as David Early) | |
| Charles Green | .... | optical camera and grading | |
| Martin Hobbs | .... | visual effects plate producer | |
| Antony Hunt | .... | executive Producer: Mill Film | |
| Andrew Jeffery | .... | optical cameraman: Mill Film (as Andy Jeffery) | |
| Dylan Kendle | .... | title design | |
| Daniel Pettipher | .... | digital supervisor: Cinesite | |
| David Sewell | .... | digital compositor | |
| Angie Wills | .... | visual effects producer | |
Stunts | |||
| Jorge Huergo | .... | stunts | |
| Eugenio Jiménez | .... | stunts | |
| Miguel Pedregosa | .... | stunt coordinator | |
| Álvaro Quiroga | .... | stunts | |
Camera and Electrical Department | |||
| John Arnold | .... | grip: second unit | |
| Reg Boddy | .... | electrician | |
| Robert Diebelius | .... | stand-by rigger | |
| Paul Edwards | .... | steadicam operator | |
| Jon Elicegi | .... | video assist operator | |
| Shaun Evans | .... | focus puller | |
| Roberto Fernández | .... | clapper loader: Spain | |
| Wilf France | .... | clapper loader | |
| Jiri Gazda | .... | dolly grip: "b" camera | |
| Jiri Gazda | .... | grip | |
| Mark Goldeman | .... | rigger | |
| Darren Grosch | .... | rigging gaffer | |
| Paul Harford | .... | lighting rigger | |
| Rab Harling | .... | clapper loader: "b" camera, UK | |
| Clive Mackey | .... | focus puller | |
| Dave Oldroyd | .... | electrician (as David Oldroyd) | |
| Ben Perry | .... | clapper loader: UK | |
| Ray Potter | .... | gaffer | |
| Keith Sewell | .... | steadicam operator | |
| Martin Stephens | .... | camera operator | |
| Ben Tilley | .... | camera trainee | |
| Stephen Vaughan | .... | still photographer | |
Casting Department | |||
| Shaheen Baig | .... | casting associate | |
| Louis Elman | .... | adr voice casting | |
| Camilla-Valentine Isola | .... | casting: Spain | |
Costume and Wardrobe Department | |||
| Marianne Agertoft | .... | key set costumer | |
| María Luisa Durán | .... | wardrobe assistant: Spain | |
| Suzy Freeman | .... | costume supervisor | |
| Madeleine Hubert | .... | costume breakdown | |
| Aurora Ferre Pereira | .... | costume breakdown | |
| José Vico | .... | assistant costume designer | |
Editorial Department | |||
| Tomas Cabral | .... | post-production assistant | |
| Mark Gravil | .... | assembly editor | |
| Riaz Meer | .... | assistant editor | |
| Gemma Spector | .... | post-production assistant | |
Thanks | |||
| Peter Berry | .... | special thanks | |
| Simon Crawford Collins | .... | special thanks | |
| Ashley Rowe | .... | special thanks | |
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| Full cast and crew | Company credits | External reviews |
| IMDb Drama section | IMDb UK section | Add this title to MyMovies |
The Reckoning is a fantastic film that embraces all the aspects of a period piece, a drama, and a mystery. The plot is a beautiful mixture of good vs. evil, man vs. man, man vs. himself, and man vs. God. The younger style of Bettany mixed with the classic styles of Dafoe and Cox mirror the plot's various themes. Cinematography (not just what we see, but what the characters see) contributes tremendously to the heart of the story. The basis of the film, "The truth shall come to light," will leave you with a sense of needed self-discovery and/or reconciliation to a new breed of life. I hope all who see this work of art will experience, as displayed in the film, a "Reckoning" of their own.