Popularity: 2 (history)
| Director: | Billy Ray |
|---|---|
| Writer: | Billy Ray, Eduardo Sacheri, Juan José Campanella |
| Staring: |
| A tight-knit team of FBI investigators, along with their District Attorney supervisor, is suddenly torn apart when they discover that one of their own teenage daughters has been brutally murdered. | |
| Release Date: | Oct 14, 2015 |
|---|---|
| Director: | Billy Ray |
| Writer: | Billy Ray, Eduardo Sacheri, Juan José Campanella |
| Genres: | Crime, Mystery, Thriller |
| Keywords | fbi, missing child, mischievous, tense |
| Production Companies | Ingenious Media, Gran Via Productions, IM Global, STXfilms, Route One Entertainment, Union Investment Partners, SITE Productions, Willie's Movies |
| Box Office |
Revenue: $34,854,990
Budget: $19,500,000 |
| Updates |
Updated: Feb 01, 2025 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Chiwetel Ejiofor | Ray |
| Nicole Kidman | Claire |
| Julia Roberts | Jess |
| Dean Norris | Bumpy |
| Alfred Molina | Martin Morales |
| Michael Kelly | Siefert |
| Joe Cole | Marzin / Beckwith |
| Zoe Graham | Carolyn |
| Patrick Davis Alarcón | Luis |
| Eileen Fogarty | Angie - Receptionist |
| Lyndon Smith | Kit |
| Kim Yarbrough | Nan |
| Mark Famiglietti | Duty Sergeant Jacobs |
| Amir Malaklou | Aban Ghazala |
| Niko Nicotera | Hammer / Chop Shop Thug |
| David Israel | Angry Dodger Fan |
| Dennis Keiffer | Chop Shop Thug |
| Don Harvey | Fierro |
| Glenn Davis | Stadium Cop |
| Walter Tabayoyong | Photographer |
| Michael Tennant | Arriving Cop |
| John Pirruccello | Duct Tape Salesman |
| Noel Gugliemi | Garbed-Out Fan |
| Pak Ho-Sung | Peanut Vendor |
| Laurence Todd Rosenthal | Popcorn Guy |
| Carrick O'Quinn | Protective Detail #1 |
| C.C. Taylor | Protective Detail #2 |
| Ross Partridge | Ellis |
| Carlos Zapata | Dave |
| Erik Solky | Panicked Man |
| Vin Scully | Voice of the Dodgers (voice) |
| Name | Job |
|---|---|
| Daniel Moder | Director of Photography |
| John Janusek | Key Grip |
| Shay Cunliffe | Costume Design |
| Peter Staubli | Sound Designer |
| Thomas M. Dangcil | Lighting Technician |
| Karen Ballard | Still Photographer |
| Jules Carideo | Production Coordinator |
| Jason Hindman | Electrician |
| Martin Charles | Graphic Designer |
| Jonathan Jost | ADR Mixer |
| Creighton Larson | Propmaker |
| Andrea Joel | Set Decoration |
| Nelson Coates | Production Design |
| Matt Horochowski | Dolly Grip |
| Mark Carlile | Lighting Technician |
| Michael Allen Glover | Assistant Art Director |
| Colin De Rouin | Art Direction |
| Jim Page | Editor |
| Gabrielle McKenna-Elliott | Scenic Artist |
| Ann Scibelli | Sound Designer |
| John Heller | Visual Effects Supervisor |
| Jeremiah Samuels | Unit Production Manager |
| Tony Negrete | Foley Editor |
| Teressa Hill | Hair Department Head |
| Brent Rice | Leadman |
| Anna MacKenzie | Supervising ADR Editor |
| Chris Cuevas | Camera Operator |
| Kathleen Walker | Art Department Coordinator |
| Aaron C. Fitzgerald | Second Assistant Director |
| Elliot Tyson | Sound Re-Recording Mixer |
| Terry Baliel | Key Hair Stylist |
| Michael Miller | ADR Mixer |
| Alyson Dee Moore | Foley Artist |
| Mike Bonnaud | Best Boy Electric |
| David Schulhof | Music Supervisor |
| Katie Saunders | Costume Supervisor |
| Karen Baker Landers | Supervising Sound Editor |
| Michael Lantieri | Special Effects Supervisor |
| Tom Davies | First Assistant Director |
| Timothy Vierra | Construction Foreman |
| Michael C. Biddle | Set Designer |
| Benjamin Spek | Steadicam Operator |
| Neil Gahm | Propmaker |
| Sarah McMurdo | Visual Effects Producer |
| Robert J. Carlyle | Construction Coordinator |
| Frederick H. Stahly | Dialogue Editor |
| Michael Bauman | Gaffer |
| Diego Mariscal | Dolly Grip |
| Lesa Nielsen | Key Makeup Artist |
| Matt Willard | First Assistant Editor |
| Nick Jimenez | ADR Recordist |
| Andy DePung | First Assistant Camera |
| Chris Jargo | ADR Editor |
| Chloe Weaver | First Assistant "A" Camera |
| Tim W. Walker | Set Medic |
| Robert Jackson | Boom Operator |
| Sherry Thomas | Casting |
| Hope M. Parrish | Property Master |
| Adam Cuthbert | Second Second Assistant Director |
| Shelley Roden | Foley Artist |
| Elizabeth Himelstein | Dialect Coach |
| Ellen King | Graphic Designer |
| Valerie Laven-Cooper | Key Costumer |
| John Beran | Rigging Grip |
| Thomas S. Drescher | Music Editor |
| Gohar Gazazyan | Casting Associate |
| George 'Skip' Henfling | Production Accountant |
| Mary Jo Lang | Foley Mixer |
| Paul Sonski | Set Designer |
| Ralph Coleman | Location Manager |
| Jeffrey D. Stevens | Set Medic |
| Michael A. Casey | Assistant Property Master |
| D. Chris Smith | Sound Effects Editor |
| Wilma Garscadden-Gahret | Continuity |
| Spooky Stevens | Unit Publicist |
| Billy Ray | Screenplay, Director |
| Eduardo Sacheri | Screenplay |
| Juan José Campanella | Screenplay |
| Emilio Kauderer | Original Music Composer |
| Sharon Bialy | Casting |
| Ron Bartlett | Sound Re-Recording Mixer |
| Chris Navarro | ADR Mixer |
| Dennis Fitzgerald | Stunt Coordinator |
| Tim Garris | Utility Stunts |
| Alisa Hensley | Stunt Double |
| Mark Miscione | Stunt Double |
| Craig Hosking | Pilot |
| Gui DaSilva-Greene | Stunts |
| Name | Title |
|---|---|
| Russell Levine | Executive Producer |
| Steven Squillante | Co-Executive Producer |
| Matt Berenson | Executive Producer |
| Deborah Zipser | Executive Producer |
| Jeremiah Samuels | Executive Producer |
| Samuel Yeunju Ha | Associate Producer |
| Matt Jackson | Producer |
| Lee Jae Woo | Executive Producer |
| Juan Antonio García Peredo | Co-Producer |
| John Ufland | Co-Producer |
| Cari-Esta Albert | Co-Producer |
| Mark Johnson | Producer |
| Stuart Ford | Executive Producer |
| Robert Simonds | Executive Producer |
| Juan José Campanella | Executive Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 23 | 36 | 16 |
| 2024 | 5 | 28 | 41 | 15 |
| 2024 | 6 | 22 | 37 | 14 |
| 2024 | 7 | 26 | 51 | 14 |
| 2024 | 8 | 16 | 25 | 11 |
| 2024 | 9 | 16 | 25 | 12 |
| 2024 | 10 | 19 | 35 | 12 |
| 2024 | 11 | 24 | 91 | 7 |
| 2024 | 12 | 16 | 40 | 10 |
| 2025 | 1 | 17 | 29 | 12 |
| 2025 | 2 | 12 | 21 | 3 |
| 2025 | 3 | 5 | 15 | 1 |
| 2025 | 4 | 3 | 6 | 1 |
| 2025 | 5 | 2 | 7 | 1 |
| 2025 | 6 | 2 | 3 | 1 |
| 2025 | 7 | 2 | 3 | 1 |
| 2025 | 8 | 2 | 3 | 1 |
| 2025 | 9 | 3 | 5 | 2 |
| 2025 | 10 | 4 | 5 | 2 |
Trending Position
**How long one's eyes can keep secret!** My confession is I haven't seen the original film. I had several opportunities, but for various reasons I stayed unwatched till now. Firstly, I won't consider it a remake since both the films were adapted from a novel. Yet no one can stop the people compar ... ing between the two, just to find out which one is true to the book. In my perspective, I think the original source was written keeping the Argentinian society, because that dark tone narration suits them. I have seen many Argentinian films, but for the American kind of storytelling, it does not appeal. Even though it was not a bad film, I somewhat enjoyed, maybe because I haven't seen the other version. The actors were great, but it was Chiwetel Ejiofor's film, He dominated the screenspace, and Nicole Kidman and Julia Roberts were slightly disappointed with their small roles. But overall, they all made it a decent film, particularly the direction impressed me for handling neatly knowing it is already once made a film. The story was suspenseful, yet it feels familiar and lets you predict the each scene before its commencement. Yes, I thought it was holding something big for the end part, and then it gives out all clues leading that way. So I kind of assumed what the end twist might be and that happened, but a bit differently. This kind of screenplay totally works for a Korean style filmmaking, but Hollywood is expert in a different field. Wherever it comes the film, a film is a film, so I won't blame it on a regional ground for lacking of something. But it should have been a bit better, maybe more thrilling and making the characters more stronger with emotionally appealing could have worked, particularly for a certain group of audience. If you're watching this story for the first time, then you might enjoy it, but for the other reasons you might not. Whatever, not a bad film for watching it once. 6/10