| Videos (see all 2 NEW) |
Directed by | |||
| David Flores | |||
Writing credits(in alphabetical order) | ||
| Jeff Coatney | writer | |
| Kevin VanHook | writer | |
Produced by | |||
| Karen Bailey | .... | producer | |
| Melissa Jones | .... | associate producer | |
| Lawreen E. Kayl | .... | line producer | |
| Kevin VanHook | .... | producer | |
Original Music by | |||
| Ludek Drizhal | |||
Cinematography by | |||
| Keith J. Duggan | |||
Casting by | |||
| Paul Weber | |||
Production Design by | |||
| George Goodridge | |||
Art Direction by | |||
| Eric Mitchell | |||
Costume Design by | |||
| Kathryn L. Bucher | |||
Makeup Department | |||
| Autumn Butler | .... | makeup department head | |
| Jason Collins | .... | special makeup effects designer: Autonomous F/X, Inc. | |
| Mandi Crane | .... | assistant makeup artist (as Mandi Maugh) | |
| Casey Dion | .... | makeup artist | |
| Jennifer Greenberg | .... | assistant makeup artist | |
Second Unit Director or Assistant Director | |||
| David Paige | .... | second second assistant director | |
| Jon Recher | .... | second assistant director | |
| Joseph Suarez | .... | first assistant director | |
Art Department | |||
| Anthony Eikner | .... | property master | |
Sound Department | |||
| Brian Deming | .... | boom operator | |
| James Doser | .... | adr recordist | |
| Houston Guy | .... | sound mixer | |
| Andy Hay | .... | sound re-recording mixer | |
| Markus Innocenti | .... | sound effects editor | |
| Jackie Johnson | .... | sound editor | |
| Francisco Koch | .... | adr recordist | |
| Wil Masisak | .... | additional sound mixer | |
| Matthew McGowin | .... | boom operator | |
| Jesse Pomeroy | .... | supervising sound editor | |
| Marcus Ricaud | .... | production sound mixer | |
| Jean Souders | .... | additional boom operator | |
| Paul Stanley | .... | supervising sound editor | |
| Eugene E. Thompson | .... | sound mixer | |
| Ian A. Thompson | .... | additional sound mixer | |
Special Effects by | |||
| Anthony Eikner | .... | physical effects coordinator | |
| TreJulie Stamos | .... | special effects assistant | |
| Mark Weatherbe | .... | special effects supervisor | |
Visual Effects by | |||
| William L. Arance | .... | animator | |
| William L. Arance | .... | compositor | |
| Brent M. Bowen | .... | visual effects | |
| Harry Eisenstein | .... | compositor | |
| Harry Eisenstein | .... | matchmove artist | |
| Peter Gend | .... | visual effects | |
| Carol VanHook | .... | visual effects | |
Stunts | |||
| Brian Brown | .... | stunts | |
| Richard Bucher | .... | stunts | |
| Brian Duffy | .... | stunts | |
| Eyad Elbitar | .... | stunt performer | |
| Jeremy Fitzgerald | .... | stunts | |
| Tad Griffith | .... | utility stunts | |
| Toby Holguin | .... | stunts | |
| Oliver Keller | .... | stunt double | |
| Diana R. Lupo | .... | stunt double: Morena Baccarin | |
| Jason Rodriguez | .... | stunt coordinator | |
| Scott Workman | .... | stunt double | |
Camera and Electrical Department | |||
| Victor Avila | .... | additional assistant camera | |
| Michael S. Beckman | .... | lighting technician | |
| Ken Blakey | .... | director of photography: second unit | |
| Melissa Di Meglio | .... | still photographer | |
| Adam Duffy | .... | electrician | |
| Brian Eastveld | .... | grip | |
| Harry Eisenstein | .... | camera operator: "b" camera | |
| Alex Gaynor | .... | electrician (as Alex O. Gaynor) | |
| Michael E. Gonzales | .... | first assistant camera | |
| Tyler Harrison | .... | second assistant camera | |
| Jennifer Harville | .... | assistant camera | |
| Adam Lozuk | .... | key grip | |
| Keith Morgan | .... | gaffer | |
| Ryan Norris | .... | set lighting technician | |
| Dustin Penrod | .... | best boy electric | |
| Rob Pittman | .... | camera intern | |
| Mark Putnam | .... | second unit director of photography | |
Animation Department | |||
| Brent M. Bowen | .... | animator | |
Casting Department | |||
| Carol Grant | .... | extras casting | |
| Jennifer Lurey | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Vicki Cannizzaro | .... | costume supervisor | |
| Christina Hale | .... | set costumer | |
| Kelli Knack | .... | set costumer | |
| Sierra Robinson | .... | set costumer | |
Transportation Department | |||
| Bob Cope | .... | transportation | |
| Harry Zabounian | .... | transportation coordinator | |
Other crew | |||
| Will Alovis | .... | additional script supervisor | |
| Randin Brown | .... | production assistant | |
| Elena Chernock | .... | production assistant | |
| Genevieve Coleman | .... | production coordinator | |
| Erin Connarn | .... | second script supervisor | |
| Gary DeGalla | .... | location manager | |
| Lisa G. French | .... | assistant production coordinator | |
| Alex Garcia | .... | key set medic | |
| Ari Halpern | .... | script supervisor | |
| Tim Shuler | .... | set medic | |
| Dennis Sugasawara | .... | production accountant | |
|
|
|
|
|
| Indiana Jones and the Kingdom of the Crystal Skull | San Paolo | The Mummy | Ben-Hur | Star Wars: Episode VI - Return of the Jedi |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb USA section | Add this title to MyMovies |
Over the years I've seen some pretty decent story ideas that the SciFi Channel has used as a basis for original films. They've usually gone to the bad because the money and/or skill needed to make them A quality entertainment just wasn't there.
THE SANDS OF OBLIVION gives them the chance to mess up not a good idea but a potentially awesome one that could have been as exciting as THE MUMMY or RAIDERS OF THE LOST ARK. Unfortunately, the great idea just fizzles out.
The basis of the story is that when Cecil B. DeMille made the original, silent THE TEN COMMANDMENTS the studio bulldozed the elaborate sets in the California desert instead of recycling the lumber and other building materials. It seems that there had been genuine Egyptian artifacts used in the set and something Very Bad had been unleashed.
In the present day people are digging up the old desert location, and Something Bad is once again free to roam the Earth.
The cast is adequate to the job, and the special effects are really pretty decent. But the script and direction are uneven, and the film never finds a consistent tone. It veers into comedy and seems to disregard the numerous people killed by the newly unleashed monster. Near the end there's a dune buggy race that's professionally filmed but seems to have been cut in from another movie.
The original TEN COMMANDMENTS had a segment set in contemporary times (the 1920's) concerning the building of a cathedral with substandard material and the tragedy of putting cost and convenience in too high a position. A similar theme could have been developed with the lumber, which would be very well preserved in a desert climate.
THE SANDS OF OBLIVION is certainly worth watching, but the main thing I kept thinking was what might have been.