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Directed by | |||
| Steven Spielberg | |||
Writing credits(WGA) | ||
| Tony Kushner | (screenplay) and | |
| Eric Roth | (screenplay) | |
| George Jonas | (book "Vengeance: The True Story of an Israeli Counter-Terrorist Team") | |
Produced by | |||
| Kathleen Kennedy | .... | producer | |
| Barry Mendel | .... | producer | |
| Vincent Servant | .... | assistant producer | |
| Steven Spielberg | .... | producer | |
| Colin Wilson | .... | producer | |
Original Music by | |||
| John Williams | |||
Cinematography by | |||
| Janusz Kaminski | |||
Film Editing by | |||
| Michael Kahn | |||
Casting by | |||
| Lucky Englander | |||
| Fritz Fleischhacker | |||
| Jina Jay | |||
Production Design by | |||
| Rick Carter | |||
Art Direction by | |||
| Rod McLean | (supervising art director) | ||
Set Decoration by | |||
| John Bush | |||
Costume Design by | |||
| Joanna Johnston | |||
Makeup Department | |||
| Nicola Buck | .... | crowd makeup artist: Budapest | |
| Maria Cork | .... | special effects hair technician | |
| Paul Engelen | .... | key makeup artist | |
| Carl Fullerton | .... | key makeup artist: New York | |
| Marcelle Genovese | .... | hairdresser: Malta | |
| Hilary Haines | .... | hair stylist | |
| Judit Halász | .... | crowd hairdresser: Budapest | |
| Katalin Jakots | .... | crowd makeup artist: Budapest (as Kati Jakots) | |
| Deborah Jarvis | .... | hair stylist | |
| Melissa Lackersteen | .... | first assistant makeup artist | |
| Craig Lindberg | .... | makeup artist: New York | |
| Alain Luzy | .... | key hairdresser: Paris | |
| Gabi Nemeth | .... | crowd hairdresser: Budapest (as Gabriella Nemeth) | |
| Balázs Novák | .... | makeup artist | |
| Rossana Parker | .... | makeup artist (as Rosanna Parker) | |
| Paula Price | .... | hair stylist | |
| Florence Roumieu | .... | key makeup artist: Paris | |
| Neal Scanlan | .... | prosthetics makeup supervisor | |
| Kenneth Walker | .... | key hair stylist: New York (as Ken Walker) | |
| Julia Wilson | .... | makeup artist | |
| Jeremy Woodhead | .... | key hair stylist | |
Production Management | |||
| John Bernard | .... | production supervisor | |
| Gilles Castera | .... | production manager: Hungary & France | |
| Aneta Cebula | .... | unit manager | |
| Maxime Couteret | .... | assistant unit manager | |
| Mike Fantasia | .... | production supervisor | |
| Christophe Fustini | .... | assistant unit manager | |
| Ian Hickinbotham | .... | unit production manager | |
| Stephanie Ito | .... | post-production supervisor | |
| Colas Jourdain | .... | assistant unit manager | |
| Peter Seres | .... | production manager | |
| Jérôme Servant | .... | unit manager | |
| Denis L. Stewart | .... | unit production manager: prep | |
| Tamás Zákonyi S. | .... | production supervisor | |
Visual Effects by | |||
| Christian Alzmann | .... | digital artist | |
| Lance Baetkey | .... | digital paint/roto supervisor | |
| Jamie Baxter | .... | compositor | |
| Ryan Beadle | .... | digital I/O | |
| Steve Caldwell | .... | digital compositor | |
| Grady Cofer | .... | associate visual effects supervisor | |
| Jay Cooper | .... | digital artist | |
| Sam Dabbs | .... | compositor | |
| David M. Gray | .... | visual effects production coordinator (as David Gray) | |
| Pablo Helman | .... | visual effects supervisor | |
| Shaina Holmes | .... | digital compositor | |
| Shaina Holmes | .... | digital coordinator | |
| Richard Kratt | .... | digital compositor | |
| Gretchen Libby | .... | visual effects producer | |
| Jake Maymudes | .... | digital artist | |
| Darin McCormick-Millett | .... | digital opticals producer: Pacific Title and Art Studio | |
| Sébastien Moreau | .... | Inferno artist: ILM | |
| Erin D. O'Connor | .... | visual effects production assistant | |
| Anthony Pitone | .... | visual effects editor | |
| Chad Taylor | .... | Inferno artist | |
| Alex Tropiec Jr. | .... | Inferno artist: ILM | |
| Amani Williams | .... | digital compositor | |
| Kevin May | .... | Sabre artist (uncredited) | |
| Michael Rich | .... | assistant digital effects artist: ILM (uncredited) | |
| Antonio Torres | .... | digital artist: Digital Intermediate, Pacific Title (uncredited) | |
Casting Department | |||
| Rodica Alkalai | .... | casting: Israel | |
| Vanessa Baker | .... | adr voice casting | |
| Dixie Chassay | .... | casting assistant | |
| Sándor Dénes | .... | extras casting: Hungary | |
| Elizabeth Dionne | .... | casting manager | |
| Brendan Donnison | .... | adr voice casting | |
| Evy Figliolini | .... | extras casting | |
| Makis Gazis | .... | casting: Greece | |
| Bonello Gordon | .... | assistant extras casting | |
| Barbara Harris | .... | voice casting | |
| Robin Hudson | .... | casting assistant | |
| Hervé Jakubowicz | .... | casting contact: France | |
| Mari Makó | .... | casting: Hungary | |
| Juliette Ménager | .... | casting contact: France | |
| Marc Robert | .... | casting contact: France | |
| Eric Souliere | .... | casting assistant | |
| Terri Taylor | .... | casting consultant | |
| David M. Waldron | .... | background casting associate: New York | |
Editorial Department | |||
| Samantha Becker | .... | post-production coordinator | |
| Andrew Blustain | .... | assistant editor | |
| Gary Burritt | .... | negative cutter | |
| Martin Cohen | .... | post-production executive | |
| Patrick Crane | .... | associate editor | |
| Mike Cuevas | .... | assistant editor | |
| Kristóf Deák | .... | editing department assistant | |
| Mark Gillard | .... | assistant editor | |
| Dale E. Grahn | .... | color timer | |
| Andrew Lee | .... | post-production assistant | |
| Yvan Lucas | .... | dailies timer | |
| Michael Pedraza | .... | post-production assistant | |
| Silja Tõnisson | .... | apprentice editor | |
| Michael Trent | .... | assistant editor | |
| Michael T. Wilson | .... | assistant editor | |
| Sam Seig | .... | assistant editor (uncredited) | |
Music Department | |||
| Ramiro Belgardt | .... | music editor | |
| Bryan Clements | .... | scoring crew | |
| Sandy DeCrescent | .... | music contractor | |
| Steve Erdody | .... | musician: cello solos (as Steven Erdody) | |
| Mark Eshelman | .... | scoring crew | |
| Mark Graham | .... | music librarian | |
| Edward Karam | .... | orchestrator | |
| Greg Loskorn | .... | scoring technician | |
| Adam Michalak | .... | score recordist | |
| Shawn Murphy | .... | scoring mixer | |
| Kathy Nelson | .... | executive in charge of music: Universal Pictures | |
| Conrad Pope | .... | orchestrator | |
| Joel Sill | .... | music consultant | |
| Steven L. Smith | .... | music preparation | |
| Kenneth Wannberg | .... | music editor (as Ken Wannberg) | |
| Robert Wolff | .... | scoring crew (uncredited) | |
Transportation Department | |||
| Jalal Aqdim | .... | picture vehicle assistant coordinator: France | |
| Gábor Bársony | .... | picture vehicle assistant | |
| Soma Benke | .... | assistant transportation coordinator | |
| Ian Clarke | .... | vehicle technician | |
| Nicolas Coatantiée | .... | driver | |
| Henry Dray | .... | transportation captain | |
| Charles Heidet | .... | action vehicle coordinator | |
| Yann Jouannic | .... | driver: cast, France | |
| Graham Kelly | .... | picture vehicle supervisor | |
| Peter Knob | .... | driver: producer | |
| Balazs Lengyel | .... | picture vehicles | |
| Patrick Thomas McManus | .... | assistant picture vehicle coordinator | |
| Szabolcs Mihályi | .... | transportation captain (as Dr. Szabolcs Mihályi) | |
| Grégoire Mouveau | .... | transportation assistant: France | |
| Boris Olomi | .... | picture vehicle technician | |
| Octave Raspail | .... | production driver | |
| Jérôme Servant | .... | transportation coordinator | |
| Zsolt Somogyi | .... | unit transportation coordinator | |
| Zoltán Szalay | .... | assistant picture vehicle coordinator | |
| Sean Thornton | .... | picture vehicle technician | |
| Alexandre Thiery | .... | production driver: Paris (uncredited) | |
Thanks | |||
| Sándor Demján | .... | special thanks | |
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'Munich' is, on the whole, a straight forward hit-man movie. The assignments are handed out; the team is assembled, each with their own specialty; and they travel about Europe plotting and carrying out their hits. We have the inevitable paranoia, the double agents and suspicious loyalties. So far, so familiar. Only 'Munich' is wrapped in the thin veneer of 'history' and 'fact', and mob bosses and corporate espionage is replaced with Middle Eastern politics and Israeli-Arab relations. I mention this because the politics of 'Munich' are really nothing more than a topical plot devise, used the same way as cold-war relations and soviet villainy was used thirty years ago.
What prevents 'Munich' becoming just a generic updated-cold-war thriller, is the sheer quality of the production. From the flawless recreation of European capitals in the early seventies to the impeccable costume design to the beautiful cinematography 'Munich' is a visually fascinating movie. The performances are universally outstanding, with Bana in particular bringing a sense of tough nobility that seems to be his forte. The script is intelligent and thought-provoking, and it is Kushner's focus on the emotional and psychological landscape of his characters rather than the details of political contract killing, that ultimately lifts the movie above the generic. The kind of self-consciously poetic prose for which he is known, so often seeming unrealistically erudite, is kept to a minimum, and when it does appear, is so beautifully written and performed that all reservations are forgotten.
Ultimately, the greatest praise must be reserved for Spielberg, who has, with 'Munich', created perhaps the first truly adult movie of his career. We see no signs of his trademark sentimentality, his descents into fantasy, his childish simplification of motivation. With 'Munich', he embraces ambiguity and complexity, and as a result, has invited criticism from those who prefer their drama simplistically black and white. Above all, one can't help but wonder what the Spielberg oeuvre would look had he not dedicated his career to kid's movies, fantasies and feel-good sci-fi.
'Munich' is an intelligent and gripping thriller that is a major contender for award recognition, and deservedly so. An outstanding achievement.