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The X Files

1998  121 MN


 7.5



The X Files on IMDb
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Rob Bowman
  Director




Mulder and Scully, now taken off the FBI's X Files cases, must find a way to fight the shadowy elements of the government to find out the truth about a conspiracy that might mean the alien colonization of Earth.

 Release Date

June 19, 1998

 Runtime

2h1m (121 min)

 Budget

$ 66,000,000

 Revenue

$ 189,198,313


 Top Billed Cast

 David Duchovny
 Agent Fox Mulder
 Gillian Anderson
 Agent Dana Scully
 Mitch Pileggi
 Assistant Director Walter Skinner
 William B. Davis
 The Cigarette-Smoking Man
 John Neville
 The Well-Manicured Man
 Martin Landau
 Kurtzweil


 Written by

Chris Carter Screenplay
Chris Carter Story
Frank Spotnitz Story

 Tagline

Fight the Future

 Videos




 Cast

David Duchovny
  Agent Fox Mulder
Gillian Anderson
  Agent Dana Scully
Mitch Pileggi
  Assistant Director Walter Skinner
William B. Davis
  The Cigarette-Smoking Man
John Neville
  The Well-Manicured Man
Martin Landau
  Kurtzweil
Jeffrey DeMunn
  Bronschweig
Dean Haglund
  Langly
Bruce Harwood
  Byers
Tom Braidwood
  Frohike
Blythe Danner
  Cassidy
Terry O'Quinn
  Michaud
Armin Mueller-Stahl
  Strughold
Lucas Black
  Stevie
Christopher Fennell
  2nd Boy
Cody Newton
  3rd Boy
Blake Stokes
  4th Boy
Don S. Williams
  Group Elder
George Murdock
  2nd Elder
Michael Shamus Wiles
  Black-Haired Man
Darrell Davis
  Primitive #1
Carrick O'Quinn
  Primitive #2
Tom Woodruff Jr.
  Creature #1
Greg Ballora
  Creature #2
Ted King
  FBI Agent on Roof
Luis Beckford
  FBI Agent
Steve Rankin
  Field Agent
Gary Grubbs
  Fire Captain Cooles
Steven M. Gagnon
  Last Agent Out
Larry Joshua
  DC Cop
Glendon Rich
  DC Cop #2
Gunther Jenson
  Security Guard
Scott Alan Smith
  Technician
Ian Ruskin
  Well-Manicured Man's Valet
Paul Welterlen
  Control Room Operator
Joel Traywick
  Young Naval Guard
Milton Johns
  British Valet
Michael Krawic
  2nd Paramedic
Larry Rippenkroeger
  Towncar Driver
Josh McLaglen
  Buzz Mihoe
Randy Hall
  Windbreakered Agent
T.C. Badalato
  Fireman
Amine Zary
  Tunisian
David Paris
  Pilot
Vanessa Morley
  Young Samantha Mulder (archive footage)
Jason Beghe
  FBI Man at Bomb Site (uncredited)

 Crew


Marlene Stewart
  Costume Design
Greg Strause
  Digital Supervisor
Josh McLaglen
  First Assistant Director
Heather Burton
  Stunt Double
Jackie Carr
  Set Decoration
Tom Gleason
  Assistant Camera
Meg Liberman
  Casting
Rob Bowman
  Director
Chris Carter
  Screenplay
Chris Carter
  Producer
Chris Carter
  Story
Frank Spotnitz
  Story
Mary Astadourian
  Associate Producer
Lata Ryan
  Executive Producer
Daniel Sackheim
  Producer
Mark Snow
  Original Music Composer
Mark Snow
  Conductor
Ward Russell
  Director of Photography
Stephen Mark
  Editor
Christopher Nowak
  Production Design
Gregory Bolton
  Art Direction
Hugo Santiago
  Art Direction
Mat Beck
  Visual Effects Supervisor
Rodger Pardee
  Sound
Marc Fisichella
  Supervising Art Director
David Womark
  Unit Production Manager
Erik Henry
  Additional Visual Effects
Lloyd Ahern II
  Additional Photography
R.J. Kizer
  ADR Supervisor
David Betancourt
  Foley Mixer
Matthew Ferro
  Visual Effects Producer
Susan A. Burig
  Graphic Designer
Lance Anderson
  Prosthetic Makeup Artist
Alec Gillis
  Makeup Effects
Tim Flattery
  Concept Artist
Gino Crognale
  Key Makeup Artist
Carl Boles
  Gaffer
Mark Kenna
  Dolby Consultant
Merrick Morton
  Still Photographer
Angela Terry
  Casting Assistant
Rich Sickler
  Second Second Assistant Director
Dins W. W. Danielsen
  Assistant Art Director
Paul J. Lombardi
  Special Effects Coordinator
Helen Monaghan
  Key Costumer
John Casey
  Costume Supervisor
Jeff Charbonneau
  Music Editor
Michael J. Burmeister
  Location Manager
Bill Iiams
  Construction Coordinator
Fanée Aaron
  Set Designer
Susan Dawes
  Dialogue Editor
Tricia Ronten
  Script Supervisor
Maxwell R. Johnson II
  Transportation Co-Captain
Blake R. Cornett
  Assistant Sound Editor
Stan Blackwell
  Special Effects Supervisor
John A. Larsen
  Supervising Sound Editor
Patti McNulty
  Art Department Coordinator
Tim A. Davison
  Stunt Coordinator
Erik Liles
  Senior Animator
Paul Apted
  Sound Effects Editor
Pamela Choules
  Visual Effects Editor
Alex L. Worman
  Unit Publicist
Craig Heath
  Sound Recordist
William H. Burton Jr.
  Second Unit Director
Mark La Bonge
  Camera Operator
Travis Baumann
  Compositing Artist
Kerry Mendenhall
  Key Hair Stylist
James Bolt
  Additional Sound Re-Recording Mixer
Steve Duncan
  Transportation Coordinator
Jeff Hamon
  ADR Mixer
Jim Martin
  Production Illustrator
Paul Urmson
  Sound Designer
Geoffrey Patterson
  Sound Mixer
Mike Amorelli
  Rigging Gaffer
Howard Fannon
  Assistant Property Master
Don Poole
  Driver
Max E. Brehme
  Swing
Fred Fein
  Stand In
Brad Edmiston
  First Assistant Camera
Dennis McNeill
  Color Timer
Michael Cassidy
  Second Assistant Camera
Mike Carrillo
  Property Master
Brian Bennett
  Stunts
Chad C. Barrow
  Best Boy Grip
Jennifer S. Deayton
  Assistant Production Coordinator
Ronnie Lombard
  Set Dressing Artist
Doris Donnenberg
  Production Supervisor
Patrick Rush
  Additional Casting
Phil Bowen
  Aerial Camera Technician
Jonathan Sacks
  Orchestrator
Tim Donelan
  Leadman
Stevie Lazo
  Production Accountant
Robb Bihun
  Storyboard Artist
Peter Koczera
  Digital Effects Supervisor
Merritt Gold
  Focus Puller
David Paris
  Aerial Coordinator
Carrie L.A.
  Location Scout
Howard Bachrach
  Transportation Captain
Nancy Collini
  Set Costumer
Kenneth Au
  Digital Compositors
Gary Burritt
  Negative Cutter
Michael Mills
  Makeup Supervisor
Mark Suveg
  Video Assist Operator
Mark Steinbeck
  Boom Operator
Renato De Cotiis
  Additional Third Assistant Director
Rick Kangrga
  Dolly Grip
Jenna Abrahamson-Minardi
  Lighting Technician
Derek Hurd
  Craft Service
Janet Tebrooke
  Wardrobe Supervisor
Damian 'Rocky' Polito
  Carpenter
Dina Farnell
  Production Coordinator
Jennifer Jaafar
  Art Department Assistant
Michael Gates
  Painter
James N. Delaplane
  Standby Painter
James Sweet
  Key Grip
Jason Bell
  Grip
Matthew A. Del Ruth
  Camera Loader
Robert Mendoza
  Post Production Assistant
Samuel H. Adams
  Propmaker
Todd J. Adelman
  Set Medic
Rachel Flackett
  Set Production Assistant
Margaret Adachi
  First Assistant Editor
Mark Ballentine
  Best Boy Electric
Harold Groshon
  Electrician
Pasquale Attanasio
  Rigging Grip
Perry Petrzilka
  Production Manager
David Was
  Music Supervisor
Fred Simon
  Visual Effects
Daphne Dentz
  Visual Effects Coordinator
Edwin Rivera
  2D Supervisor
Ricky Cuevas
  Assistant Accountant
Diane Linn
  ADR Recordist
Anna Bradley
  Key Set Production Assistant
Stephen Sobisky
  Project Manager
Jan Beran
  Special Effects Technician
Dawn Fintor
  Foley Artist
Jamie Sewell
  Clapper Loader
Shaun M. McGovern
  Second Assistant Accountant
Carrie Cashman
  Foley Recordist

 Trivia

- The official name of the film is only "The X-Files". But it is mostly refered as "Fight the Future" or "The X-Files: Fight the Future".

- Budget: approximatively 66 millions dollars.

- The song "The Crystal Ship" by X is actually a new version of a famous song of The Doors from their eponym album. The keyboardist of the band X is Ray Manzarek, one of the member of The Doors.

- Chris Carter about the movie: "So I learned the hard way and I was sort of slapped in the face a little bit by the demands of that big picture up on the screen, both of the film maker and the story teller. While I think that we told a big screen story and I think we told it well. I think that when we go to do the next X-Files movie that we will all be much wiser, more experienced and savvy men and women. Who, I know, that are looking very forward to carrying this on from a TV series into a series of movies."

- DVD audio commentary by Chris Carter and Rob Bowman. Chris Carter: "When coming up with the idea for The X-Files movie, Frank Spotnitz and I were sitting in Hawaii, thinking about what we needed to do to make the idea bigger than the series, a concept that could be worthy of a movie and explains some things that the series didn't or hadn't. And so we needed this big idea that's needed to start in an extreme place and to end in an extreme place. And we had done some research and found out that the globe had been covered in ice not that long ago in historical terms as far down as Texas, so we thought that would be interesting to take some place we wanted to shoot, which is the desert and make it a completely different landscape, prehistorically. And also, it was an idea that encompassed the bigger idea here, which is that alien life has been here prehistorically and that it may have gone underground and this is really the reason for that big action sequence with the cavemen and the alien dinosaurs, if you will, that really shapes the first sequence.

You write these cavemen, these primitives, these men of a sort of unknown time and while they have been recreated by scientists and I guess the anthropologists the look of them. It didn't quite look right when we first started the making-up the actual actors, the stuntmen who played the two primitives, which is what we called them. And so, it went through several different stages that they looked kind of cartoonish at first. And then with the prostetics, they looked too ape-like and because this isn't that long ago in historical terms, they needed to look more like modern men. Yet, when you made them more modern, it didn't seem right either. So we sort of, I think, walked a thin line, trying to make it believable and yet not make them look too cartoone."

Rob Bowman: "This particular fight sequence from my point of vue as a director was challenging because I got two people in heavy wardrobe and makeup and I need a very physical, very violent fight in basically a black arena. And the alien, the gentlemen inside the alien suits, is completely blind with, you know, sharp talons at the end of his fingers so I've gotta protect the cavemen from his claws and the cavemen has got to pretend to be stabbing that they can't really stab with this sword. And, you know, there's no guns, and none of the usual things we see in a fight in a movie so: how do I make it as real and as scary as I possibly can, well, once I saw the creature walk in and realized that he was blind, I had to adjust the entire approach of the filming because I needed to be very short-flash cut so that I could create the illusion that the alien is quite dangerous..."

- At 26 minutes, Scully can be seen looking at the camera.

 Quotes

 New Quote

Strughold: He’s but one man. One man alone cannot fight the future.
   


Fox Mulder: But you saved me! As difficult and as frustrating as it's been sometimes, your goddamned strict rationalism and science have saved me a thousand times over! You've kept me honest... you've made me a whole person. I owe you everything, Scully, and you owe me nothing. (Scully looks shocked at this admission; her eyes fill with tears) I don't know if I wanna do this alone... I don't even know if I can ... and if I quit now, they win.
   


Fox Mulder: You were right to want to quit! You were right to want to leave me! You should get as far away from me as you can! I'm not going to watch you die, Scully, because of some hollow personal cause of mine. Go be a doctor. Go be a doctor while you still can.
Dana Scully: I can't. I won't. Mulder, I'll be a doctor, but my work is here with you now. That virus that I was exposed to, whatever it is, it has a cure. You held it in your hand. How many other lives can we save? Look... (takes his hand) If I quit now, they win.

   


Dana Scully: Don't think! Just pick up that phone and make it happen!
   


 Reviews


 New Review

Die Hard meets The X-Files
By Jack Anderson on October 12, 2017
 7

BLOCKBUSTER
This film is a major blockbuster. The first twenty minutes of the film are all about helicopters, big trucks, big buildings, explosions.

PLOTHOLES AND IMMATURE WRITING
When looking for the bomb, not only Mulder knows that the bombs is in another building, but he also magically discovers it when looking for a soda. This makes for childish writing.
Meanwhile, I still don't understand how the FBI would blame Mulder and Scully for the bomb when they actually were the ones who found it.
Instead of The X-Files trying to go to the big screen by going to its roots, The X-Files is trying to copy every blockbusters from the 90s. While it is fun to watch, it feels much more like a Die Hard episode with Mulder and Scully than The X-Files.

DETAILS
- Why does Scully sleep with make-up on? It's really too obvious.

FANMADE
I love "The X-Files" movie, also known as "Fight the Future". It is a huge fest for the eyes and marks the highlight of The X-Files saga and phenomenon.

MUSIC
Mark Snow's score is brilliant. For the first time, we get to hear Mark Snow with a real orchestra. And the result is awesome.

SUMMARY
A great pop corn movie for every fan. I give it 8 out of 10.


great moment of my 1998
By danascully09 on May 16, 2018
 8

What a magic moment to spend, after class at Avignon university, with my best friend I had to supply to come with me, on this afternoon of october 1998 , in the theatre to watch the x files FTF.

Some fans were making noise, especially during the corridor scene.

I remember the feeling of everything bigger, everything I love in my series on big screen, like a dream came true, a revelation. And a proof for the entire population that the show I loved was really a good one! The x phile pride!

The bomb scene is great, the paranoid ambiance also. And the music, great symphonic mark snow job!

The cast is wonderful, everything is well-played. And the final with the fly of the UFO when you want to scream "open your damn eyes Scully!"




 Pictures

5 pictures
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 News

The X-Files Turns 25
 September 10, 2018

 2    0    471
The X-Files Movie Celebrates its 20th Anniversary
 June 19, 2018

 7    0    441



 Comments

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Fight the Future: 20th Anniversary - Share your story!
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