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| Michael Caine | ... | Andrew | |
| Jude Law | ... | Milo | |
| Harold Pinter | ... | Man on T.V. | |
| Carmel O'Sullivan | ... | Maggie | |
| rest of cast listed alphabetically: | |||
| Kenneth Branagh | ... | Other Man on T.V. (uncredited) | |
Directed by | |||
| Kenneth Branagh | |||
Writing credits(in alphabetical order) | ||
| Harold Pinter | screenplay | |
| Anthony Shaffer | play | |
Produced by | |||
| Kenneth Branagh | .... | producer | |
| Simon Halfon | .... | producer | |
| Ben Jackson | .... | co-producer | |
| Jude Law | .... | producer | |
| Simon Moseley | .... | producer | |
| Marion Pilowsky | .... | producer | |
| Tom Sternberg | .... | producer | |
Original Music by | |||
| Patrick Doyle | |||
Cinematography by | |||
| Haris Zambarloukos | |||
Film Editing by | |||
| Neil Farrell | |||
Production Design by | |||
| Tim Harvey | |||
Set Decoration by | |||
| Celia Bobak | |||
Costume Design by | |||
| Alexandra Byrne | |||
Makeup Department | |||
| Eileen Kastner-Delago | .... | hair designer | |
| Eileen Kastner-Delago | .... | makeup designer | |
| Eileen Kastner-Delago | .... | prosthetics designer | |
| Mitch Lumsden | .... | hair stylist | |
| Kelly Marazzi | .... | key makeup artist | |
| Stephen Murphy | .... | prosthetics makeup artist | |
| Matthew Smith | .... | key prosthetic makeup technican (uncredited) | |
Production Management | |||
| John David Gunkle | .... | unit manager | |
| Emily Stillman | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Guy Heeley | .... | first assistant director | |
| Olivia Lloyd | .... | second assistant director | |
| Charlie Reed | .... | third assistant director | |
Sound Department | |||
| Stuart Bagshaw | .... | additional foley editor | |
| Howard Bargroff | .... | sound re-recording mixer | |
| Paula Boram | .... | foley artist | |
| Mike Grimes | .... | supervising sound editor | |
| Dan Johnson | .... | adr recordist | |
| Stephane Malenfant | .... | second boom operator | |
| Zak Melemendjian | .... | dialogue editor | |
| Shaun Mills | .... | boom operator | |
| Emma Pegram | .... | assistant sound re-recording mixer | |
| Jack Stew | .... | foley artist | |
| Chris Sturmer | .... | sound consultant: dolby | |
| David Turner | .... | post audio project manager | |
| Bradley Waller | .... | sound editor | |
| Michele Woods | .... | supervising dialogue editor | |
Special Effects by | |||
| David Harris | .... | special effects supervisor | |
| Graham Hills | .... | special effects senior technician | |
Visual Effects by | |||
| Richard Elson | .... | visual effects editor | |
| Sarah Hemsley | .... | visual effects producer: The Senate VFX | |
| Richard Higham | .... | visual effects supervisor: The Senate VFX | |
| Simon Leech | .... | digital artist: The Senate VFX | |
| Gareth Repton | .... | digital artist: The Senate VFX | |
| Samantha Spacey | .... | visual effects line producer: The Senate VFX | |
| Luigi Tommaseo | .... | network and operations: The Senate VFX | |
| Thomas Urbye | .... | preview colourist: The Look | |
| Rachel Wright | .... | digital artist: The Senate VFX | |
| Anton Yri | .... | digital artist: The Senate VFX | |
Stunts | |||
| Bradley Farmer | .... | stunt double: Jude Law | |
| Paul Kennington | .... | stunt double | |
| Paul Weston | .... | stunt coordinator | |
Camera and Electrical Department | |||
| David Appleby | .... | still photographer | |
| Simon Baker | .... | Steadicam operator | |
| Simon Baker | .... | camera operator: "a" camera | |
| Tim Battersby | .... | additional first assistant camera | |
| Ashley Bond | .... | first assistant camera | |
| Ann Marie Crotty | .... | video playback operator | |
| Howard Davidson | .... | electrician | |
| Hamish Doyne-Ditmas | .... | first assistant camera: "a" camera | |
| Brian Fawcett | .... | additional lighting technician | |
| Rob Gilmour | .... | camera trainee | |
| Alice Hobden | .... | assistant camera | |
| Ahmet Husseyin | .... | camera trainee | |
| Rupert Lloyd-Parry | .... | key grip | |
| Dan Lowe | .... | rigging gaffer | |
| Shaun Mone | .... | best boy: location | |
| Shaun Mone | .... | electrician: Twickenham | |
| Luke Redgrave | .... | camera operator: "b" camera | |
| Simon Thorpe | .... | grip | |
| Julian White | .... | gaffer | |
Costume and Wardrobe Department | |||
| Melanie Carter | .... | costume maker | |
| Richard Sale | .... | assistant costume designer | |
| James Smith | .... | costumer: Mr. Caine (as Jimmy Smith) | |
Editorial Department | |||
| Greg Barrett | .... | senior digital intermediate producer | |
| John Claude | .... | digital intermediate colorist | |
| Lorene Dewett | .... | apprentice assistant editor: FT2 | |
| Daniel Farrell | .... | additional editor | |
| Paul Shore | .... | on-line editor | |
| Thora Woodward | .... | editor trainee | |
Music Department | |||
| Christopher Benstead | .... | music editor | |
| Christian Howes | .... | music assistant | |
| Yann McCullough | .... | additional music editor | |
| Maggie Rodford | .... | music producer: Air-Edel | |
| James Shearman | .... | orchestrator | |
| Nick Wollage | .... | score engineer & mixer | |
Transportation Department | |||
| Lee Isgar | .... | driver: Jude Law | |
| Colin Morris | .... | personal driver | |
Other crew | |||
| Peter Boothby | .... | production runner | |
| Neil Chordia | .... | production executive | |
| Ben Gladstone | .... | location manager | |
| Damian Mitchell | .... | assistant armorer | |
| Richard Morrison | .... | title designer | |
| Amelia Price | .... | production coordinator | |
| Tamar Thomas | .... | assistant: Mr. Branagh | |
Thanks | |||
| Ron Arad | .... | thanks | |
| Karl R. Austen | .... | special thanks (as Karl Austen) | |
| Victoria Belfrage | .... | special thanks | |
| Antony Gormley | .... | thanks | |
| Simon Halls | .... | special thanks | |
| Gary Hume | .... | thanks | |
| Sara Keene | .... | special thanks | |
| Patrick Whitesell | .... | special thanks | |
| Modi Wiczyk | .... | special thanks | |
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| Sleuth | Basic Instinct | Lantana | Fracture | Body Double |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Drama section | IMDb USA section |
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Luckily for me, I didn't watch the original 1972 version of Sleuth, so I didn't know what to expect upon entering the theater, nor did I have any previous basis of comparison. That's a good thing, you see, as this slick and stylish one-on-one thriller kept me and my friend on the edge of our seats throughout its whole 86 minutes running time. Now, this may seem short for a film like this, but trust me - it's a satisfying feature, that'll leave you highly entertained once the credits start to roll.
Based on a play, Sleuth confronts two extremely clever British men in a game of trickery and deceit. Our characters are Andrew Wyke (the one and only Michael Cain), an aging famous author who lives alone in a high-tech mansion after his wife Maggie has left him for a younger man; and Milo Tindle, the younger man, an aspiring actor, equipped with charm and wit(portrayed by the always charmantic Jude Law, who demonstrates both qualities once again). When Wyke invite Tindle to his mansion, Tindle seeks to convince the former into letting his wife go by signing the divorce paper. However, Wyke seems far more interested in playing mind games with his wife's new lover, and lures him into a series of actions he thoroughly planned in seeking revenge on his unfaithful spouse.
Much can't be said about what happens from here on out without spoiling the movie, but I'll try the best to bring the jest of what I felt towards the end result whilst speaking in general terms.
As a play would unfold, Sleuth is built of three prominent acts, each raising the stakes our protagonists are willing to take as part of this one-on-one confrontation. However, while I found the first two extremely sarcastic, intriguing and dare I say mean (but not in a cruel manner); the final act was a bit of a let down, one that didn't live up to the lofty anticipation the first two led me into building.
Alas, these reservations of mine are what kept this film from becoming a real treat in my book, and left it more in the realms of an entertaining ride of a lesser value (for me). Still, I don't regret I checked this one out for one second. Law and Caine both hand out terrific performances, with Law outdoing even himself this time. This superb actor demonstrates a wide range of emotions on screen, and tricking even good old cynic me in the second act at that. I really wish he'd gain more recognition for his ongoing work, and the year end awards which are rapidly approaching are a good place to start. If the Academy will dismiss\ignore his work here, I'll be really disappointed this time around.
Another good thing to keep your eye out for while checking this one out is the wonderful camera work and musical theme that haunt you throughout the feature. Special kudos goes to director Kenneth Branagh, who shows us how a talky script could easy become a sufficient thriller by knowing when and where to place the camera, and how to place the proper lighting and music in a given scene. It's this experience and technique that help turn 2007's Sleuth into an effective piece of work; one that's worth taking a look at, if not for the plot, then (to the very least) for the powerful performances by Jude Law and Michael Caine and unique direction by Branagh.
Watched at the International Haifa Film Festival, Israel, October 2007.