Prince of Persia: The Sands of Time

A rogue prince reluctantly joins forces with a mysterious princess and together, they race against dark forces to safeguard an ancient dagger capable of releasing the Sands of Time – gift from the gods that can reverse time and allow its possessor to rule the world.
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Credits: TheMovieDb.

Film Cast:

  • Prince Dastan: Jake Gyllenhaal
  • Tamina: Gemma Arterton
  • Nizam: Ben Kingsley
  • Sheik Amar: Alfred Molina
  • Seso: Steve Toussaint
  • Garsiv: Toby Kebbell
  • Tus: Richard Coyle
  • King Sharaman: Ronald Pickup
  • Bis: Reece Ritchie
  • Hassansin Leader: Gísli Örn Garðarsson
  • Hassansin Porcupine: Claudio Pacifico
  • Hassansin Whip Man: Thomas DuPont
  • Hassansin Giant Scimitar: Dave Pope
  • Hassansin Double-Bladed Sword: Domonkos Pardanyi
  • Hassansin Long Razor: Massimiliano Ubaldi
  • Hassansin Grenade Man: Vladimir Furdik
  • Regent of Alamut: Christopher Greet
  • Young Dastan: William Foster
  • Young Bis: Elliot James Neale
  • Persian Captain: Selva Rasalingam
  • Asoka: Darwin Shaw
  • Young Guardian Girl: Daisy Dodge Hill
  • King Sharaman (Boy): Charlie Banks
  • Nizam (Boy): Jesse Matthews
  • Bloodied Alamut Soldier: Rohan Siva
  • Head Servant: Dimitri Andreas
  • Roham: Stephen A. Pope
  • Mounted Herald: Trampas Thompson
  • Garsiv’s Lieutenant: Joseph Beddelem
  • Tamina’s Maid Servant: Farzana Dua Elahe
  • Rafa: Rachid Abbad
  • Mughal Sultan: Aziz El Kibachi
  • General: Simon De Selva
  • Spy: Felix Augusto Quadros
  • Musician: Amin Mohammad Fouladi
  • Musician: Masoud Abbasi
  • Musician: Mehrdad Azmiri
  • Musician: Zartosht Safari
  • Musician: Ali Nourbakhsh
  • Musician: Parham Bahadoran
  • Musician: Ehsan Parvidan
  • Musician: Shohreh Shojaeifard
  • Musician: Babak Babakinejad

Film Crew:

  • Unit Production Manager: Sarah Bradshaw
  • Producer: Jerry Bruckheimer
  • Executive Producer: Mike Stenson
  • Unit Production Manager: Eric McLeod
  • Executive Producer: Chad Oman
  • Associate Producer: Pat Sandston
  • Editor: Mick Audsley
  • Editor: Michael Kahn
  • Executive Producer: John August
  • Casting Director: Susie Figgis
  • Director of Photography: John Seale
  • Sound Effects Editor: Brent Burge
  • Costume Design: Penny Rose
  • Art Direction: Leslie Tomkins
  • Makeup Designer: Sallie Jaye
  • Original Music Composer: Harry Gregson-Williams
  • Production Design: Wolf Kroeger
  • Editor: Martin Walsh
  • Stunt Coordinator: Greg Powell
  • Director: Mike Newell
  • Fight Choreographer: Ben Cooke
  • Visual Effects Art Director: Tino Schaedler
  • Set Decoration: Elli Griff
  • Art Direction: Pier Luigi Basile
  • Makeup Artist: Sharon Martin
  • Art Direction: Robert Cowper
  • Second Unit Director: Alexander Witt
  • Supervising Art Director: Jonathan McKinstry
  • Stunts: Cedric Proust
  • Art Direction: Luca Tranchino
  • Makeup Artist: Niamh O’Loan
  • Screenplay: Boaz Yakin
  • Unit Production Manager: Patrick McCormick
  • Choreographer: David Belle
  • Screenstory: Jordan Mechner
  • Stunts: Marvin Campbell
  • Stunt Double: Marco Stefanelli
  • Art Direction: David Allday
  • Screenplay: Doug Miro
  • Screenplay: Carlo Bernard
  • Fight Choreographer: Thomas DuPont
  • Sound Re-Recording Mixer: Beau Borders
  • Makeup Artist: Ann Buchanan
  • Stunts: Azeddine Benamara
  • Stunt Coordinator: G. A. Aguilar
  • Stunts: C.C. Smiff
  • Stunts: Ken Tran
  • Dialogue Editor: James Matheny
  • Supervising Art Director: Gary Freeman
  • Art Direction: Mark Swain
  • Art Direction: Marc Homes
  • Standby Art Director: Sue Whitaker
  • Stunts: Rick Le Fevour
  • Concept Artist: François Baranger
  • Music Editor: John Warhurst
  • Music Editor: Richard Whitfield
  • Supervising Sound Editor: George Watters II
  • Sound Re-Recording Mixer: Kevin O’Connell
  • Stunt Double: Bobby Holland Hanton
  • Still Photographer: Andrew Cooper
  • Music Editor: Kirsty Whalley
  • Supervising Sound Editor: Tim Nielsen
  • Sound Effects Editor: David C. Hughes
  • Sound Effects Editor: Ken Fischer
  • Music Editor: Meri Gavin
  • Dialogue Editor: David A. Arnold
  • Sound Effects Editor: Jack Whittaker
  • Script Supervisor: Beverly Winston
  • Stunt Double: Mark Mottram
  • Makeup Artist: Rebecca Lafford
  • Sound Effects Editor: J.R. Grubbs
  • Sound Effects Editor: Adam Kopald
  • Makeup Artist: Charlotte Hayward
  • Stunt Double: Marek Toth
  • Stunts: Youssef Marchouki
  • Hair Designer: Jan Archibald
  • Hairdresser: Barbara Taylor
  • Hairdresser: Nicola Clarke
  • Music Editor: Mark Jan Wlodarkiewicz
  • Stunt Double: Guiomar Alonso
  • Stunts: Mark Fichera
  • Stunt Double: David Holmes
  • Production Supervisor: Simone Goodridge
  • Sound mixer: Peter Lindsay
  • Stunts: Maurice Lee
  • Visual Effects Supervisor: Tom Wood
  • Hairdresser: Marc Pilcher
  • Stunt Double: Jo McLaren
  • Stunt Double: Daniel Naprous
  • First Assistant Director: Simon Warnock
  • Stunts: Benoit Lavelatte
  • Stunts: Andy Butcher
  • Stunts: Jason Hunjan
  • Stunts: Tad Griffith
  • Stunt Double: Mark Anthony Newman
  • Stunts: Reg Wayment
  • Stunts: Tolga Kenan
  • Second Assistant Director: Richard Goodwin
  • Stunts: Elaine Ford
  • Stunt Double: Arran Topham
  • Stunt Double: Branislav Martinak
  • Hairdresser: Bee Archer
  • Stunt Double: Tomas Ereminas
  • Stunts: Michael Byrch
  • VFX Artist: Laraib Atta
  • Stunts: Bruce Cain
  • Second Assistant Director: Sallie Hard
  • Stunts: Juan Diego Montoya
  • Stunts: José Antonio Oña Sánchez
  • Stunt Double: Susan Christie
  • Stunts: Richard Hansen
  • Stunts: Lurye Lomuro
  • Stunts: Luis Miguel Arranz
  • Stunt Double: Álvaro Quiroga
  • Stunts: Brahim Boukhizzou
  • Stunts: Noureddine Hajoujou
  • Stunts: Mustapha Touki
  • Stunts: Tarik Belmekki
  • Stunt Double: Marc Mailley
  • Stunts: Sid Sentry
  • Stunts: Aissa Ait Brahim
  • Stunts: Imad Okssih
  • Stunts: Ramón Jiménez
  • Stunts: Sam Dent
  • Stunts: Hamid Bourhza

Movie Reviews:

  • John Chard: Sands to the future.

    I guess ultimately it is what it is, a Disney backed video game adaptation of the blockbuster kind.

    In truth it works just fine and dandy as a family fantasy adventure, with swords and sandals – shields and sarongs, all in abundance. There’s the mythical and the magical, the swish and the swash, the HD photography a treat for the eyes. The leads are pretty, likable and energetic, and even though it consistently reminds us that it is based on a video game (jumping and rolling, jumping and rolling), the choreography is niftily arranged and there’s a lovely old fashioned feel to the story; which works in that wonderful Sinbadish way.

    Not perfect by any stretch of the imagination, and if one was so inclined? One could deconstruct the faults of the production with the same clinical impact of that achieved by Ben Kingsley’s (Sir) wallet when it hit the floor after this paycheck was deposited. It should be viewed in the spirit of how Alfred Molina plays his character, with tongue in cheek and a complete understanding of how to have a good time with popcorn fluff. Prince of Persia is forgettable come the end credits, but at least it was a fun date. And for that we are truly grateful. 7/10

  • Gimly: It’s very, very bad but I guess I was in just the right mood for it because I actually kind of enjoyed watching _Prince of Persia_. I can’t pinpoint even a single good thing about it, whereas I can immediately conjure many of its failings, but I just remember having some fun.

    _Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole._

  • r96sk: Never played the video game, but I enjoyed this film suitably.

    It has flaws, though there’s enough to like about ‘Prince of Persia: The Sands of Time’. I rate Jake Gyllenhaal as an actor, while I don’t think he’s perfect for this role I did enjoy his performance all in all. The special effects are neat, especially for the dagger. The support cast are satisfactory, Alfred Molina being the standout behind Gyllenhaal.

    The premise is a pretty fascinating one, but I don’t feel there is enough there for a near 2hr production. It felt, a number of times, that the story was going round in circles and overextending itself in order to fill the run time, there are many times where ‘A’ runs from ‘B’, ‘B’ finds ‘A’ instantly, ‘A’ gets away. In many different guises, but it kept happening.

    Could’ve been far greater, but I still come away from viewing this fairly positively.

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