| Photos (see all 41 | slideshow) | Videos (see all 11 NEW) |
Directed by | |||
| Todd Phillips | |||
Writing credits(WGA) | ||
| William Blinn | (characters) | |
| Stevie Long | (story) and | |
| John O'Brien | (story) | |
| John O'Brien | (screenplay) and | |
| Todd Phillips | (screenplay) & | |
| Scot Armstrong | (screenplay) | |
Produced by | |||
| Gilbert Adler | .... | executive producer | |
| William Blinn | .... | producer | |
| Scott Budnick | .... | associate producer | |
| Stuart Cornfeld | .... | producer | |
| Akiva Goldsman | .... | producer | |
| Tony Ludwig | .... | producer | |
| Alan Riche | .... | producer | |
| David Siegel | .... | associate producer (as David A. Siegel) | |
| Ben Stiller | .... | executive producer | |
Original Music by | |||
| Gene McDaniels | |||
| Theodore Shapiro | |||
Cinematography by | |||
| Barry Peterson | (director of photography) | ||
Film Editing by | |||
| Leslie Jones | |||
Casting by | |||
| Juel Bestrop | |||
| Jeanne McCarthy | |||
Production Design by | |||
| Ed Verreaux | (as Edward Verreaux) | ||
Art Direction by | |||
| Greg Papalia | |||
Set Decoration by | |||
| Kate J. Sullivan | |||
Costume Design by | |||
| Louise Mingenbach | |||
Production Management | |||
| Brian McNulty | .... | post-production supervisor | |
| Mark Scoon | .... | executive in charge of production | |
| David Siegel | .... | unit production manager | |
Sound Department | |||
| Jon Ailetcher | .... | sound mixer: second unit | |
| Mike Anderson | .... | cable person | |
| Christopher S. Aud | .... | sound editor | |
| Michael Babcock | .... | sound designer | |
| Michael Babcock | .... | supervising sound editor | |
| Benjamin Beardwood | .... | dialogue editor | |
| Kevin E. Carpenter | .... | sound re-recording mixer (as Kevin Carpenter) | |
| Jeffrey Cranford | .... | assistant sound editor (as Jeff Cranford) | |
| Joe Dorn | .... | adr supervisor | |
| Patrick J. Foley | .... | dialogue editor (as Patrick Foley) | |
| Terry Garcia | .... | first assistant sound editor | |
| J. Paul Huntsman | .... | co-supervising sound editor | |
| Brian W. Jennings | .... | sound editor | |
| Adam Johnston | .... | sound effects editor | |
| Rick Kline | .... | sound re-recording mixer | |
| Michael W. Mitchell | .... | sound editor | |
| Alyson Dee Moore | .... | foley artist (as Alyson Moore) | |
| Lee Orloff | .... | sound mixer | |
| Steve Pederson | .... | sound re-recording mixer | |
| John Roesch | .... | foley artist | |
| Bruce Tanis | .... | foley supervisor | |
| Steve Weiss | .... | sound mixer: second unit | |
| Knox White | .... | boom operator | |
Special Effects by | |||
| Garnet Baril | .... | special effects | |
| James Bomalick | .... | special effects technician | |
| Chris Brenczewski | .... | special effects | |
| Greg Curtis | .... | special effects foreman | |
| John W. Fisher | .... | special effects (as John W. M. Fisher) | |
| Robert S. Henderson | .... | special effects foreman (as Robert Henderson) | |
| Patrick Huggins | .... | special effects foreman | |
| Michael Meinardus | .... | special effects coordinator (as Mike Meinardus) | |
| Jose Antonio Paramo | .... | special effects | |
| Mike Sasgen | .... | special effects foreman (as Mike J. Sasgen) | |
| Anthony Simonaitis | .... | special effects foreman (as Anthony W. Simonaitis) | |
| Christopher A. Suarez | .... | special effects technician | |
Visual Effects by | |||
| Bill Church | .... | digital artist | |
| John Coats | .... | visual effects supervisor: second unit | |
| Anne Graham | .... | digital artist | |
| David D. Johnson | .... | visual effects supervisor | |
| Sean Kennedy | .... | digital artist | |
| Kevin Lin | .... | digital cleanup artist | |
| Peter Michels | .... | digital artist | |
| Etienne Terblanche | .... | digital artist | |
Casting Department | |||
| Jennifer Bender | .... | extras casting | |
| Blythe Cappello | .... | casting associate | |
| Mariann H.W. Lee | .... | extras casting | |
| John Srednicki | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Georgia Alemanni | .... | costumer | |
| Charlene Amateau | .... | costume supervisor | |
| Cathy Crandall | .... | assistant costume designer | |
| Lois DeArmond | .... | costume illustrator | |
| Loreen Lightfoot | .... | milliner | |
| Marylou Lim | .... | set costumer | |
| Robert Mata | .... | costumer: Mr. Stiller | |
| Alison McCosh | .... | costumer | |
| Fran Murphy | .... | additional costumer | |
| Andrea Napier | .... | set costumer | |
| Grace Pyke | .... | costumer | |
| April Roomet | .... | costumer: Snoop Dogg | |
| Carlos Rosario | .... | costume illustrator | |
| Senna Shanti | .... | costumer | |
| Danny Vick | .... | costume assistant | |
Editorial Department | |||
| Mo Henry | .... | negative cutter | |
| Bryan Lamoureux | .... | first assistant editor | |
| Jack Lewars | .... | assistant color timer: Efilm | |
| Elana Joy Livneh | .... | assistant editor | |
| Dan Schalk | .... | additional editor (as Daniel A. Schalk) | |
| Jeff Schweikart | .... | post-production assistant | |
| Lorene Simpson | .... | digital intermediate producer | |
| Lee Wimer | .... | color timer | |
| Bill Daly | .... | post-production executive (uncredited) | |
| Jennifer Stellema | .... | assistant editor (uncredited) | |
Music Department | |||
| Jon Ailetcher | .... | music playback | |
| Pete Anthony | .... | conductor | |
| Pete Anthony | .... | orchestrator | |
| Bryan Carrigan | .... | digital score recordist | |
| Sandy DeCrescent | .... | orchestra contractor | |
| George Drakoulias | .... | music supervisor | |
| George Drakoulias | .... | soundtrack producer | |
| Chris Fogel | .... | music scoring mixer | |
| Gordon Fordyce | .... | assistant music editor | |
| Walt Fowler | .... | musician: trumpet | |
| Mark Graham | .... | music librarian | |
| Fred Johnston | .... | music playback | |
| Jonathan Karp | .... | music editor | |
| Jon Kull | .... | orchestrator | |
| Randall Poster | .... | music supervisor | |
| Steven L. Smith | .... | music preparation | |
Transportation Department | |||
| Cheryl Andryco | .... | transportation office coordinator | |
| Phil Balani | .... | driver | |
| Jeff Bova | .... | driver | |
| Linda Cipperley | .... | transportation | |
| Reed Cohan | .... | driver: construction department | |
| Teresa Haney | .... | transportation | |
| Rick Hicks | .... | captain | |
| Paul Jones | .... | driver | |
| Joel Larson | .... | driver | |
| Craig Lietzke | .... | picture car coordinator | |
| Jim Petti | .... | transportation | |
| Marty Radcliff | .... | driver | |
| Jonathan A. Rosenfeld | .... | transportation coordinator | |
| Sarah Lynn Schmitt | .... | transportation | |
| Paul Tumber | .... | transportation | |
| Jeff Verdick | .... | transportation captain | |
| J. Wilfrid White | .... | camera boat driver: marine department | |
Other crew | |||
| Heather Anderson | .... | set production assistant | |
| Sheri Apap | .... | head animal trainer | |
| Carlos A. Aragon | .... | assistant location manager | |
| John Arbuckle | .... | marine boat operator | |
| Sage Asteak | .... | production assistant | |
| Angela Athayde | .... | additional production assistant | |
| Erin Bartnik | .... | production assistant | |
| Noah Berlow | .... | production assistant | |
| Michael Bilog | .... | second assistant accountant | |
| Billy Bonifield | .... | assistant production office coordinator | |
| Deon Boyce | .... | key production assistant | |
| Trent Broin | .... | staff assistant | |
| Brinton Bryan | .... | additional set production assistant | |
| Tom Burruss | .... | marine crew | |
| Francois Caillaud | .... | production assistant | |
| Christopher Campbell | .... | key assistant location manager | |
| Chris Cashman | .... | photo double: Vince Vaughn | |
| Abbey Chambers | .... | assistant: Mr. Stiller | |
| Jim Chizmar | .... | dive master: second unit | |
| James Mitchell Clyde | .... | marine boat operator | |
| Linda DaSilva | .... | assistant production coordinator | |
| Guin Dill | .... | animal trainer | |
| Steve Eckelman | .... | assistant: Mr. Wilson | |
| Carey Field | .... | set production assistant | |
| Tim Fitzgerald | .... | set production assistant | |
| Corinne Fixmer | .... | second assistant accountant | |
| Rob Frank | .... | key assistant location manager | |
| Josh Gallegos | .... | production assistant | |
| Michael George | .... | marine coordinator | |
| Jeffrey Gladu | .... | payroll accountant | |
| Jennifer L. Hamilton | .... | assistant choreographer (as Jennifer Hamilton) | |
| Steve Hertler | .... | technician: Wescam XR | |
| John Humber | .... | assistant: Mr. Wilson | |
| Pino Insegno | .... | voice dubbing: Will Ferrell | |
| Jennifer S. Jackson | .... | script supervisor: second unit | |
| April A. Janow | .... | production accountant | |
| Adam Karasick | .... | assistant to producer | |
| Ryan Kavner | .... | production assistant: re-shoots | |
| Monica Kenyon | .... | production assistant | |
| Jane Kelly Kosek | .... | assistant: Mr. Goldsman | |
| Mike E. Landau | .... | production associate | |
| Kanchan A. Mattoo | .... | assistant: Mr. Stiller | |
| Helen Medrano | .... | first assistant accountant (as Helen Ruiz) | |
| Michael Neale | .... | location manager | |
| Shaun O'Banion | .... | assistant: Mr. Stiller | |
| Matthew H. O'Connor | .... | dive coordinator | |
| Paulette Osorio | .... | unit publicist | |
| David Paris | .... | helicopter pilot | |
| Blake Perkinson | .... | production assistant | |
| Marguerite Pomerhn Derricks | .... | choreographer (as Marguerite Derricks) | |
| John Radcliff | .... | production assistant: second unit | |
| Sonia Randazzo | .... | second assistant accountant | |
| Brieann Rich | .... | set medic/rescue diver | |
| Tricia Ronten | .... | script supervisor | |
| Bruce A. Ross | .... | marine captain | |
| Kevin Roy | .... | additional production assistant | |
| Ahmed Saker | .... | key set medic | |
| Annette Savitch | .... | assistant: Mr. Phillips | |
| Michelle Schrauwers | .... | set production assistant | |
| Michael James 'Scotty' Scott | .... | accounting clerk | |
| Kim Soleau | .... | assistant: Mr. Confeld | |
| Nicolas Stern | .... | production coordinator | |
| Holli Strickland | .... | production assistant | |
| Ed Tapia | .... | assistant: Gil Adler | |
| Jeanne Thompson | .... | assistant: Mr. Riche and Mr. Ludwig | |
| Gerald A. Vitatoe Jr. | .... | construction accountant | |
| Troy Waters | .... | assistant marine coordinator | |
| Chris Winn | .... | craft service | |
| Melissa Wyler | .... | tennis coordinator | |
| Shannon Zimmerman | .... | production intern | |
Thanks | |||
| Michael Babcock | .... | special thanks: soundtrack | |
| Antonio Fargas | .... | special thanks | |
|
|
|
|
|
| Wonderland | King of New York | The Black Widow | The Fugitive | The Galloping Ghost |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
| Add this title to MyMovies |
During its inauspicious four year run, the TV series "Starsky & Hutch" was never a huge hit; though it did land at an impressive number 15 in the Nielsen ratings its first year (1975-76), the numbers declined steadily thereafter. It was never a particularly good show and in the ensuing years it has never really had much of a cult following (except, maybe, among gay audiences who imagined more in the Starsky-Hutch relationship than was ever intended -- something immortalized in a Halloween episode of "Will & Grace"). Indeed, much of the success of the show could be attributed to the fact that the proverbial pair of mismatched cops it featured drove a tricked out Ford Gran Torino -- an otherwise uncool make of car which somehow became cool because it was given a remarkably ugly red-and-white paint job. Yet, neither particularly admired for its quality nor beloved for its unintentionally humorous mediocrity, the show has lingered in our consciousness, even as many that were far better and more original have faded into oblivion. Even so, it is hard to imagine that there was ever a great demand for it to be turned into a big screen movie.
It does, however, deserve some credit; the show did strive for a bit of grittiness in the style of THE FRENCH CONNECTION. In an era when most TV cop shows were slick and glib and sometimes striving for a touch of glamor, "Starsky & Hutch" moved around in a world of pimps and prostitutes, drug pushers and lowlifes. It tried to maintain a sense of realism, or at least what could pass as realism on network television in the 1970s. Therefore, just as there is no real reason for a Starsky & Hutch movie to exist, it is a further puzzlement that the one quality that gave the TV show any distinction or purpose, it's rough-edged quality, is the one thing the movie version immediately jettisoned.
The film is less about the series than it is about all the untold number of gritty buddy-cop films that have come and gone along the way, from FREEBIE AND THE BEAN to LETHAL WEAPON and even SEVEN. The movie also takes shots at the disco-dazed trendiness of the seventies, a quality that was also never a big part of the series. Thus, the humor in STARSKY & HUTCH is so generic and so broad that it jumps past satire and instead goes directly into parody, ending up little more than an extended version of the type of skits that "The Carol Burnett Show" used to stage. Without the trademark Gran Torino, the characters played by Ben Stiller and Owen Wilson could just as easily have been named Smith and Jones -- or Hope and Crosby. Indeed, the two characters' personas were deemed so inconsequential that essentially Stiller and Wilson opted to simply play themselves -- or at least dust off their well-used screen images -- rather than to even attempt to find something unique about the characters played by Paul Michael Glaser and David Soul on TV.
It may be just as well. But if the original series was so bereft of any distinctive element on which to hang a full length feature, then it only increases the pointlessness of the movie as a whole. Like so many TV-to-movie translations, the film has no real interest in the source material beyond exploiting its pre-sold title and recycling a few trademark bits of trivia as jokes -- like dragging in Glaser and Soul for self-mocking cameos. Otherwise, there's nothing in STARSKY & HUTCH that hadn't already been mocked, and with much greater skill and wit, by Emilio Estevez and Samuel L. Jackson in NATIONAL LAMPOON'S LOADED WEAPON 1, a comedy that had the sense to know that merely repeating clichés is not the same as making fun of them.