 
  Popularity: 11 (history)
| Director: | Martin Brest | 
|---|---|
| Writer: | Bo Goldman, Ron Osborn, Jeff Reno, Kevin Wade | 
| Staring: | 
| Bill Parrish has it all - success, wealth and power. Days before his 65th birthday, he receives a visit from a mysterious stranger, Joe Black, who soon reveals himself as Death. In exchange for extra time, Bill agrees to serve as Joe's earthly guide. But will he regret his choice when Joe unexpectedly falls in love with Bill's beautiful daughter Susan? | |
| Release Date: | Nov 12, 1998 | 
|---|---|
| Director: | Martin Brest | 
| Writer: | Bo Goldman, Ron Osborn, Jeff Reno, Kevin Wade | 
| Genres: | Fantasy, Drama, Romance | 
| Keywords | life and death, love at first sight, broken engagement, fireworks, religion and supernatural, based on play or musical, teenage crush, fate, grim reaper, doctor, millionaire, death personified, death incarnate, angel of death, romantic, appreciative, compassionate | 
| Production Companies | Universal Pictures, City Light Films | 
| Box Office | Revenue: $142,940,100 Budget: $90,000,000 | 
| Updates | Updated: Aug 01, 2025 Entered: Apr 13, 2024 | 
| Name | Character | 
|---|---|
| Brad Pitt | Joe Black / Young Man in Coffee Shop | 
| Anthony Hopkins | William Parrish | 
| Claire Forlani | Susan Parrish | 
| Jake Weber | Drew | 
| Marcia Gay Harden | Allison | 
| Jeffrey Tambor | Quince | 
| David S. Howard | Eddie Sloane | 
| Lois Kelly-Miller | Jamaican Woman | 
| Jahnni St. John | Jamaican Woman's Daughter | 
| Richard Clarke | Butler | 
| Marylouise Burke | Lillian | 
| Diane Kagan | Jennifer | 
| June Squibb | Helen | 
| Gene Canfield | Construction Foreman | 
| Suzanne Hevner | Florist | 
| Steve Coats | Electrician | 
| Madeline Balmaceda | Madeline | 
| Julie Lund | Drew's Secretary | 
| Kay Gaffney | Boardmember | 
| Anthony Kane | Boardmember | 
| Joe H. Lamb | Boardmember | 
| Robert C. Lee | Boardmember | 
| Jim Taylor McNickle | Boardmember | 
| Hardy Phippen Jr. | Boardmember | 
| Stephen Adly Guirgis | Hospital Receptionist | 
| Leo Marks | Party Waiter | 
| Michelle Youell | Party Guest | 
| Gene Leverone | Party Guest | 
| Name | Job | 
|---|---|
| Walter Ferris | Theatre Play | 
| Maxwell Anderson | Original Film Writer | 
| Gladys Lehman | Original Film Writer | 
| Bo Goldman | Screenplay | 
| Thomas Newman | Original Music Composer | 
| Emmanuel Lubezki | Director of Photography | 
| Michael Tronick | Editor | 
| Juliet Taylor | Casting | 
| Dante Ferretti | Production Design | 
| Martin Brest | Director | 
| Patricia Kerrigan DiCerto | Casting Associate | 
| Barbara Harris | ADR Voice Casting | 
| Eric A. Norris | Sound Effects Editor | 
| Ron Bartlett | Sound Re-Recording Mixer | 
| Stephen G. Bishop | Hairstylist | 
| Brendan Gunn | Dialect Coach | 
| Celia D. Costas | Unit Production Manager | 
| Troy Brown | Stunts | 
| Steve M. Davison | Stunts | 
| John Cenatiempo | Stunts | 
| Chris Cenatiempo | Stunts | 
| Buddy Joe Hooker | Stunt Coordinator | 
| Scott Wilder | Stunt Double | 
| Ron Osborn | Screenplay | 
| Jeff Reno | Screenplay | 
| Kevin Wade | Screenplay | 
| Joe Hutshing | Editor | 
| Ellen Lewis | Casting | 
| Robert Guerra | Art Direction | 
| Leslie Bloom | Set Decoration | 
| Aude Bronson-Howard | Costume Design | 
| David C. Robinson | Costume Design | 
| Robert DeVine | Special Effects | 
| Ray Fisher | Leadman | 
| Tommy Allen | Property Master | 
| David Tanaka | Visual Effects Editor | 
| Michael Owens | Visual Effects Supervisor | 
| Timothy Alberts | Wardrobe Supervisor | 
| Barbara Hause | Wardrobe Supervisor | 
| Susan J. Wright | Wardrobe Supervisor | 
| Joni M. Huth | Seamstress | 
| Dain I. Kalas | Seamstress | 
| Lisa Katcher | Script Supervisor | 
| Bill Bernstein | Music Editor | 
| Angie Rubin | Music Editor | 
| Phil Pastuhov | Aerial Director of Photography | 
| Craig DiBona | Camera Operator | 
| Jay Fortune | Gaffer | 
| James Malone | Rigging Gaffer | 
| Phillip V. Caruso | Still Photographer | 
| Dave Lowry | Dolly Grip | 
| Richard Guinness Jr. | Key Grip | 
| Allen Hartz | ADR Editor | 
| Barbara Issak | ADR Editor | 
| David Melhase | ADR Editor | 
| Lauren Palmer | ADR Editor | 
| Jeff Rosen | ADR Editor | 
| Matthew Sawelson | ADR Editor | 
| Andrew Schmetterling | Boom Operator | 
| John Benson | Foley Editor | 
| John Murray | Foley Editor | 
| Dan Yale | Foley Editor | 
| Joe Earle | Sound Effects Editor | 
| Kenneth L. Johnson | Sound Effects Editor | 
| Linda Keim | Sound Effects Editor | 
| James P. Lay | Sound Effects Editor | 
| Chris Jenkins | Sound Re-Recording Mixer | 
| Mark Smith | Sound Re-Recording Mixer | 
| Mark Narramore | Sound Recordist | 
| Samuel F. Kaufman | Sound Recordist | 
| Joe Dorn | Supervising ADR Editor | 
| Beth Miller | Hair Department Head | 
| Jerry DeCarlo | Hairstylist | 
| Lyndell Quiyou | Key Hair Stylist | 
| Richard Dean | Key Makeup Artist | 
| Randy Houston Mercer | Key Makeup Artist | 
| Lynn Campbell | Makeup Artist | 
| Tricia Heine | Makeup Artist | 
| Joe Rossi | Makeup Artist | 
| Gabriel Wrye | First Assistant Editor | 
| Greg Parsons | First Assistant Editor | 
| Gary Burritt | Negative Cutter | 
| Ralph Osborn | Dialogue Editor | 
| Benjamin Beardwood | Dialogue Editor | 
| Gary Lewis | Dialogue Editor | 
| Sarah Monat | Foley Artist | 
| Robin Harlan | Foley Artist | 
| Joseph S. Alfieri | Construction Coordinator | 
| Amanda Pollack | Assistant Editor | 
| Alberto Casella | Theatre Play | 
| Phil Hetos | Color Timer | 
| Dean Drabin | ADR Mixer | 
| Marilyn Graf | Foley Mixer | 
| Don Givens | Foley Recordist | 
| Timothy Shannon | Transportation Co-Captain | 
| Francis Connolly Jr. | Transportation Co-Captain | 
| Edmund Nardone | Projection | 
| Larry Kaplan | Unit Publicist | 
| Peter A. Mian | Video Assist Operator | 
| Amy Sayres | First Assistant Director | 
| Christopher Surgent | Second Assistant Director | 
| Chris 'Curtis' Fousek | Construction Coordinator | 
| Scott A. Hecker | Supervising Sound Editor | 
| Peter Bucossi | Stunts | 
| Frank Ferrara Sr. | Stunts | 
| James P. Whalen Jr. | Transportation Coordinator | 
| Name | Title | 
|---|---|
| Martin Brest | Producer | 
| Celia D. Costas | Associate Producer | 
| Ronald L. Schwary | Executive Producer | 
| David J. Wally | Co-Producer | 
| Organization | Category | Person | 
|---|
Popularity History
| Year | Month | Avg | Max | Min | 
|---|---|---|---|---|
| 2024 | 4 | 63 | 82 | 47 | 
| 2024 | 5 | 61 | 76 | 46 | 
| 2024 | 6 | 61 | 108 | 38 | 
| 2024 | 7 | 79 | 106 | 47 | 
| 2024 | 8 | 67 | 112 | 50 | 
| 2024 | 9 | 60 | 75 | 39 | 
| 2024 | 10 | 76 | 116 | 45 | 
| 2024 | 11 | 83 | 113 | 56 | 
| 2024 | 12 | 63 | 113 | 45 | 
| 2025 | 1 | 72 | 93 | 47 | 
| 2025 | 2 | 49 | 94 | 11 | 
| 2025 | 3 | 21 | 70 | 4 | 
| 2025 | 4 | 15 | 19 | 10 | 
| 2025 | 5 | 15 | 20 | 12 | 
| 2025 | 6 | 12 | 15 | 10 | 
| 2025 | 7 | 13 | 17 | 10 | 
| 2025 | 8 | 8 | 11 | 7 | 
| 2025 | 9 | 9 | 11 | 8 | 
| 2025 | 10 | 10 | 13 | 8 | 
Trending Position
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 10 | 449 | 851 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2025 | 9 | 383 | 707 | 
| Year | Month | High | Avg | 
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| 2025 | 8 | 305 | 688 | 
| Year | Month | High | Avg | 
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| 2025 | 7 | 174 | 663 | 
| Year | Month | High | Avg | 
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| 2025 | 6 | 459 | 797 | 
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| 2025 | 5 | 407 | 766 | 
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| 2025 | 4 | 479 | 778 | 
| Year | Month | High | Avg | 
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| 2025 | 3 | 190 | 635 | 
| Year | Month | High | Avg | 
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| 2025 | 2 | 487 | 810 | 
| Year | Month | High | Avg | 
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| 2025 | 1 | 469 | 689 | 
| Year | Month | High | Avg | 
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| 2024 | 12 | 293 | 723 | 
| Year | Month | High | Avg | 
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| 2024 | 11 | 349 | 782 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2024 | 10 | 961 | 977 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2024 | 9 | 596 | 844 | 
| Year | Month | High | Avg | 
|---|---|---|---|
| 2024 | 8 | 259 | 729 | 
***Captivating commentary on love, life and death*** The Grim Reaper (i.e. the Angel of Death) comes to take billionaire industrialist Bill Parrish (Anthony Hopkins) but instead decides to take a holiday in the corporeal universe by possessing the body of a young man (Brad Pitt). Death's deal wit ... h Parrish is that, as long as he's entertained, he'll delay Bill's death. Mr. Death materializes as a mysterious stranger with child-like qualities known as 'Joe Black.' His "holiday" is complicated when he falls for Parrish's daughter (Claire Forlani). "Meet Joe Black" (1998) is a re-imagining of the 1934 film "Death Takes a Holiday" (which I've never seen). It has the confidence to take its time at almost 3 hours, but is so captivating that it feels shorter than most 90-minute mindless flicks. The plot is reminiscent of other good "fish out of water" stories like Spock in Star Trek, “Starman” (1984), etc. Yes, it's outlandish but the film expertly presents the bizarre situation in a totally believable manner. In other words, this is indeed a serious drama, which nicely balances out the heavy moments with lighter touches. I would compare it to "The Green Mile" (1999), another long drama with supernatural touches and wholly captivating. Despite its fantastical premise, "Meet Joe Black" consistently offers profound insights to the most vital topics of the human experience — love, life, death and numerous others, e.g. betrayal, rivalry, hostility, comeuppance and the mysterious beyond. One good example is when Parrish's son-in-law (Jeffrey Tambor) offers a definition of love to Joe Black: To know the worst thing about someone and it's okay, presuming they’re penitent. This is just one example; the film is filled with such insights. "Meet Joe Black" cost $90 million to make and only made half of it back at the USA box office. Fortunately it has gone on to garner an enthusiastic following and rightly so 'cause this is a near-masterpiece of filmmaking and genuinely moving. I consider myself a masculine man, but tears flowed through approximately 1/3 of the runtime. This is a sign of a potent and affecting picture. It's a travesty that dreck like "Pirates of the Caribbean" makes gazillions of dollars and garbage like "American Beauty" are hailed as masterpieces while true gems like "Joe Black" are often overlooked. The good thing is that time was on Joe Black's side. The word got out. The film runs 2 hours, 58 minutes, and was shot in Warwick, Rhode Island (Aldrich Mansion); Manhattan; and Teaneck, New Jersey. GRADE: A/A-
Joe Black ( Brad Pitt ) as the Grim Reaper arrives on the doorstep of wealthy businessman Bill Parrish ( Anthony Hopkins ) after borrowing a body of a man killed that morning. After experiencing chest pains and hearing voices Bill Parish is due to die and Joe has come to escort him to the other side ... . Bill, playing for more time, engages with Joe and manages to persuade him to spend a little more time on earth. Joe’s interest in humanity and experiencing life is particularly heightened when he and Bill’s daughter Susan start to form a relationship. “Meet Joe Black” centres more on the relationship of Joe and Susan rather than Deaths design for Bill. As a Romeo and Juliet style story of forbidden love, “Meet Joe Black” tries hard to play on audience emotions. Brad Pitt and Anthony Hopkins give solid performances but the lengthy run time makes it hard to sustain interest in both the story and any of the characters. The premise is quite good and the Stella cast try to make the most of the concept of the spiritual firepower of love. However it’s over complication and unnecessary sub plot ( bid to take over Bill’s company) just makes “ Meet Joe Black” unnecessarily long.
Billionaire "Parrish" (Sir Anthony Hopkins) is feeling a bit under the weather as his birthday approaches, and a potential corporate merger looms too. His daughter "Sarah" (Claire Forlani) is, meantime, rather keen on one of his hotshot employees "Drew" (Jake Weber) who is a driving force behind the ... impending and lucrative business deal. "Parrish" is clearly unwell, and after a scare that looks like an heart attack, he finds a new character in his life. The blonde and piercing-eyed Brad Pitt whose purpose here is pretty clear to us, but not yet to his new friend. Hastily named "Joe Black" the older man starts to act as a sort of guide for the younger, who clearly his little knowledge of how the world works. "Black" starts to feature much more prominently in the life of the mogul and that causes consternation as he begins to display a behaviour that really contrasts with that which made him successful in the first place. That causes quite a bit of chagrin for the ambitious "Drew" but not as much as the attentions "Black" is now paying to "Claire" - and that are slowly becoming reciprocated, too. "Parrish" has, by now, begun to realise who his dashing and charismatic companion is - and has concerns about the impact this might have on his daughter should she find out. Can the pair find a way to reconcile what must be done with what they want to be done? It's quite a solid and promising story and there's quite an effective dynamic between the under-stated Pitt and Sir Anthony. It's just far too long, though. It could easily lose an hour and the plot wouldn't suffer. It's almost like a three act play that takes far too long to get going, and is really only redeemed by a delightfully conspiratorial last half hour. It's a good looking film but is too dialogue-heavy and I found myself wading through too much of it to really enjoy it. Sorry.
Death takes a holiday. Not only the name of the play it was based off, but the general premise of the film. A real fish out of water story, with death trying to understand life and why people don't usually want to give it up. I can see this film not ageing well for those on the left who demand chang ... es to older films or scenes cut. With them not understanding that death talks to people in their own voice. So that's why we the audience heard Joe speaking like the Jamaican women who was in the hospital. I can see those people losing their minds over that scene. Demanding at minimum a trigger warning. Anyway the cast did an amazing job and is one of those films where you don't listen to the critics, who gave it a F, listen to the audience who gave it a B.