Betrayed by his own kind and left for dead on a desolate planet, Riddick fights for survival against alien predators and becomes more powerful and dangerous than ever before. Soon bounty hunters from throughout the galaxy descend on Riddick only to find themselves pawns in his greater scheme for revenge. With his enemies right where he wants them, Riddick unleashes a vicious attack of vengeance before returning to his home planet of Furya to save it from destruction.
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Credits: TheMovieDb.
Film Cast:
- Riddick: Vin Diesel
- Colonel R. “Boss” Johns: Matt Nable
- Dahl: Katee Sackhoff
- Santana: Jordi Mollà
- Diaz: Dave Bautista
- Lord Vaako: Karl Urban
- Moss: Bokeem Woodbine
- Luna: Nolan Gerard Funk
- Krone: Andreas Apergis
- Nunez: Noah Danby
- Rubio: Neil Napier
- Lockspur: Raoul Max Trujillo
- Vargas: Conrad Pla
- Falco: Danny Blanco Hall
- Santana’s Prisoner: Keri Hilson
- Consort: Antoinette Kalaj
- Consort: Charlie Marie Dupont
Film Crew:
- Original Music Composer: Graeme Revell
- Supervising Sound Editor: Scott Martin Gershin
- Creature Design: Patrick Tatopoulos
- Special Effects Technician: Guillaume Murray
- Producer: Ted Field
- Casting: Anne McCarthy
- Production Design: Joseph C. Nemec III
- Sound Re-Recording Mixer: Marc Fishman
- Producer: Vin Diesel
- Casting: Andrea Kenyon
- Foley Artist: Goro Koyama
- Foley Artist: Andy Malcolm
- Special Effects Supervisor: Ryal Cosgrove
- Writer: David Twohy
- Director of Photography: David Eggby
- Rigging Gaffer: Gilles Fortier
- Visual Effects Supervisor: Ryan Epp
- Executive Producer: George Zakk
- Editor: Tracy Adams
- Executive Producer: Samantha Vincent
- Costume Supervisor: Linda Leduc
- Makeup Department Head: Adrien Morot
- Construction Coordinator: Alain Brochu
- Camera Operator: François Daignault
- VFX Editor: Jennifer Pearson
- Executive Producer: Mike Drake
- Still Photographer: Jan Thijs
- Sound Recordist: Patrick Rousseau
- Assistant Hairstylist: Susan Sloan
- Set Decoration: David Laramy
- ADR Mixer: Mitch Dorf
- Hairstylist: Ghislaine Sant
- Supervising Art Director: Jean-Andre Carriere
- Storyboard Artist: W.D. Hogan
- Visual Effects Supervisor: Alain Lachance
- Visual Effects Producer: Marc A. Rousseau
- Second Assistant Camera: Isabelle Lecompte
- Casting: Randi Wells
- Costume Design: Simonetta Mariano
- Production Accountant: Vicki L. Sawyer
- First Assistant Editor: Blake Harjes
- Camera Trainee: Etienne Didelot-Pothier
- Sound Editor: Jonathan Rego
- Visual Effects Coordinator: Charles-David Deschenes
- Costume Supervisor: Suzanne Canuel
- Hair Department Head: Michelle Côté
- Script Supervisor: Elizabeth Tremblay
- Dialogue Editor: Margit Pfeiffer
- Foley Artist: Sandra Fox
- Sound Designer: Tim Walston
- Art Department Production Assistant: Jean-Philippe Carignan
- Special Effects Technician: Andy Antoine
- Special Effects: Marc Reichel
- ADR Editor: Julie Feiner
- Sound Re-Recording Mixer: Christian P. Minkler
- Digital Intermediate Producer: Bruce Lomet
- Sound Editor: Karen Vassar Triest
- Sound Effects Editor: Kris Fenske
- Property Master: Simone Leclerc
- Boom Operator: Maxime Ferland
- Set Costumer: Julie Amyot
- Visual Effects Supervisor: Tim Carras
- Visual Effects Producer: Joshua D. Comen
- Construction Coordinator: Michel Brochu
- Visual Effects Coordinator: Jessica Newhouse-Smith
- Best Boy Electric: Dan Goyens
- Visual Effects Producer: Persis Reynolds
- Visual Effects Producer: Julia Neighly
- Visual Effects Supervisor: Nordin Rahhali
- Key Makeup Artist: Nicole Lapierre
- Visual Effects Supervisor: Pierre-Simon Lebrun-Chaput
- Supervising Sound Editor: Becky Sullivan
- Visual Effects Editor: Thomas R. Bryant
- Sound Designer: Peter Zinda
- Set Decoration: Daniel Carpentier
- Art Direction: Robert Parle
- Sound Effects Editor: Scott Wolf
- Foley Editor: Michael D. Wilhoit
- First Assistant Sound Editor: David Stanke
- Special Effects Technician: Tim Winchester
- Props: George Tucci
- Digital Intermediate Editor: Serge Harvey
- Visual Effects Supervisor: Ollie Rankin
- Concept Artist: Jerad Marantz
- Visual Effects Producer: Dusan Strugar
- CG Supervisor: Sean Schur
- Makeup Artist: Roxy D’Alonzo
- Visual Effects Supervisor: Gunnar Hansen
- Animation Director: Emilio Ghorayeb
- Sound Editor: Angelina Faulkner
- Compositor: Stu Hunter
- Compositing Artist: Sebastien Proulx
- Production Assistant: Martin Brisebois
- Special Effects Technician: Roland Blancaflor
- Second Unit Director of Photography: Robert Mattigetz
- Gaffer: Charles Beetz
- Sound Effects Editor: Csaba Wagner
- Special Effects: Sebastien Roussel
- Visual Effects Supervisor: Mathieu Raynault
- ADR Mixer: Michael Miller
- CG Supervisor: Louis Paré
- Sound Mix Technician: Robert Althoff
- Digital Effects Supervisor: Jean-Francois Lafleur
- Art Department Coordinator: Asuka Sugiyama
- Prop Maker: Patrice Jacques
- Digital Imaging Technician: Julie Garceau
- First Assistant Camera: Nicolas Marion
- Visual Effects Coordinator: Amelie Marcoux
- Visual Effects Producer: Korey J. Cauchon
- Visual Effects Producer: Wendy Gipp
- CG Supervisor: Sylvain Theroux
- VFX Supervisor: Martin Pelletier
- Key Grip: Robert B. Baylis
- Casting Assistant: Morgan Robbins
- Special Effects Technician: Vincent Brabant
- Camera Operator: Geoffroy St-Hilaire
- Focus Puller: Patrick Beaulac
- Makeup Artist: Fanny Vachon
- Creature Design: Arnaud Brisebois
- Contact Lens Technician: Kevin Carter
- Dolly Grip: Alain Bisson Doyal
- Production Coordinator: Yves Desjardins
- ADR Recordist: Kyle D. Krajewski
- Set Costumer: Sophie Beasse
- Compositing Supervisor: Benjamin Ribière
- Key Rigging Grip: Jean-François Dubé
- Grip: Étienne Geoffrion
- Hairstylist: Rocco Stallone
- 3D Artist: Jerry Weil
- Visual Effects Coordinator: Sabrina Gagnon
- Makeup Artist: Catherine Lavoie
- Rigging Grip: Pierre-Luc L’Espérance
- Second Assistant Camera: Roch Boucher
- Makeup Artist: Gillian Chandler
- Post Production Accountant: Diana Ascher
- Assistant Costume Designer: Eugénie Clermont
- CG Artist: Stéphanie Morin
- Travel Coordinator: Gabriel Lavina
- Compositing Artist: Eloi Brunelle
- Compositing Artist: Martin Larrivée
- Senior Animator: Frédéric Côté
- Music Supervisor: Brandon Thompson
- Armorer: Brent Radford
- Visual Effects Coordinator: Kelly Wong
- Rigging Grip: Simon Touzin
- Sound Re-Recording Mixer: Andrii Trifonov
- Assistant Art Director: Joseph Gagné
- Special Effects Technician: Luc Therrien
- Set Dresser: Louis Frederic Denomme
- Compositing Lead: Norbert Ruf
- Lighting Artist: Erich Burchfield
- CG Animator: Taran Matharu
- Visual Effects Producer: P. Whitney Gearin
- CG Supervisor: Charles Abou Aad
- Foley Recordist: Jenna Dalla Riva
- Lighting Artist: Sylvain Allard
- Extras Casting: Johanne Titley
- Lead Animator: Hiroyuki David Yabu
- Compositing Artist: Alex Jadfard
- Foley Mixer: Jack Heeren
- Foley Recordist: Stephen Muir
- Storyboard Artist: Brian Murray
- Extras Casting: Anthony J. Biondolillo
- Matte Painter: Manuel Huertas Marchena
- Lighting Artist: Bruno Champagne
- 3D Artist: Louis Desrochers
- Compositor: Gabriel Mandala
- Sculptor: Nikolaos Dresios
- Props: Sylvain Joyal
- Assistant Accountant: Maggy Belzile
- Compositing Artist: Philippe Roberge
- Set Dresser: Marco Lavallée
- Payroll Accountant: Lise Servant
- Production Assistant: Michael Saintsbury
- Compositing Artist: Michel Frenette
- Visual Effects Coordinator: Mathieu Tremblay
- Matte Painter: Antoine Rouleau
- Matte Painter: Catherine Hébert
- Matte Painter: Sith Khay
- Concept Artist: Matt Codd
- Concept Artist: Vance Kovacs
- Props: Marzia Pellissier
- Set Dresser: Pascal Tremblay
- Storyboard Artist: Charles Ratteray
- Data Wrangler: Ian Mongrain
- Digital Imaging Technician: Jean-Francois Gravel
- First Assistant Camera: Eric Godbout
- Grip: Gerry Prévost
- Hairstylist: Martin Nepton
- Tattoo Designer: Lee Gren
- Wigmaker: Annie Jalbert
- Costumer: Nathalie Chretien
- Textile Artist: Jonathan Girard
- Production Assistant: Marc Desaulniers
- Production Assistant: Noëlle Lara
- Production Coordinator: Josianne Mailloux
- Production Secretary: Melissa Halarides
- Second Assistant Accountant: Nickey Chow
- Stand In: Robert Bastens
- Assistant Editor: Charlie Greene
- Digital Intermediate Colorist: Michael Underwood
- Digital Intermediate: Milaine Gamache
- Music Editor: Gordon Fordyce
- 3D Artist: Pierre-Olivier Levesque
- CG Artist: Kaz Yoshida
- CG Artist: Leslie Conover
- CG Artist: Samantha Howze
- CG Artist: Rik Panero
- CG Artist: James William Roberts
- Compositing Artist: Andrea Espinal
- Compositing Artist: Patricia Gaumond
- Compositing Artist: Thomas Hallé
- Compositing Artist: Peter Koss
- Compositing Artist: Louis Laflamme-Fillion
- Compositing Artist: Laurent Srey
- Compositing Artist: Valentin Trasnea
- Compositing Artist: Ludovic Lebart
- Compositor: Andy Lueddeke
- Compositor: Felix Lafontaine
- Compositor: Kenneth Armstrong
- Compositor: Brian Cuartero
- Compositor: Chonnanit Na Thalang
- Compositor: Jadan Duffin
- Compositor: Greg Pilon
- Compositor: Chad Reder
- Lighting Artist: David Lo
- Lighting Artist: Bruno Gagné
- Lighting Artist: Samuel Jacques
- Lighting Artist: Philippe David
- Matte Painter: Tiberius Viris
- Matte Painter: Maxx Burman
- Matte Painter: Julie Joannoteguy
- Matte Painter: Grigor Kuzmanov
- Matte Painter: Sylvain Lorgeou
- Visual Effects Coordinator: Svetlana Tesnes
- Visual Effects Coordinator: Jonathan Cronk
- Visual Effects Coordinator: Ryan Burcham
- Visual Effects Coordinator: Laurel Montgomery
- Visual Effects Coordinator: Lauren Gauthier
- Visual Effects Producer: Katie Wells
- Visual Effects Production Assistant: Nania Sergi
- Visual Effects Production Manager: Jeanne-Élise Prévost
- Special Effects: Paul Brassard
- Special Effects Technician: Mitch C. Duran
- ADR Recordist: Dan Mockensturm
- Sound Assistant: Jonathan Lafond
Movie Reviews:
- praVeeng: nice movie
- tom_elkrider: After trying to move the character to more epic levels in ‘Chronicles of Riddick’, and failing to capture an audience, this third installment in the series, simply titled ‘Riddick’, is a return-to-basics for director David Twohy. It quickly sets itself loose from the baggage of ‘Chronicles’ and pursues a more clear-cut survival action story that might as well be titled ‘Pitch Black 2‘.
- John Chard: Maybe you’re all scared of the wrong thing.
Unsurprisingly reactions to this, the third outing for Vin Diesel’s sci-fi based anti-hero, has been very mixed. In truth it’s hardly a great film of the “must see” kind, and it does in fact cleave very close to Pitch Black, the first and most superior of the Riddick trilogy. However, there’s a whole bunch of science fiction fun to be had here.
Plot has Riddick left for dead on a inhospitable planet, where he finds himself up against some alien creatures. His only hope of getting off the planet is to bring notice of his whereabouts, which brings two ships to where he is. Both with crews who have differing reasons for wanting to capture the enigmatic convict…
And thus we get a beautifully filmed sci-fier that features beasties of both the human and alien kind. Action and moody histrionics are never far away, and Diesel is wonderfully muscular, macho, course and scary. Some of the CGI is weak, and naturally much of the film’s coincidences and contrivances have to be forgiven if one wants a popcorn and beer good time of it. 7/10
- Gimly: **(Note: This review is of the theatrical version, I have seen the uncut version and it is an improvement, but have not reviewed that edition)**
In this latest incarnation, Riddick goes boldly goes where no previous entry has gone before: Nowhere.
Say what you will about the previous film (_Chronicles of Riddick_) at least it had the guts to take some risks. Sure, almost all of those ended up being complete misfires, but they were still taken. Riddick on the other hand plays it safe. It’s a path not entirely without benefit, but one that was not expected from the series spawned by Australian cult-classic _Pitch Black_.
Shoot me for saying it but I’m actually a huge fan of Davind Twohy (_The Arrival, Waterworld, G.I. Jane, A Perfect Getaway_) so I actually sort of hoped for more from the piece. Sure _Chronicles_ was silly and disjointed, sure _Dark Fury_ was totally unnecessary and _Dark Athena/Butcher Bay_ were only intermittently decent, but overall the Riddick franchise will always be compared to _Pitch Black_, and against this prodigy, the latest movie is simply subpar.
The Necromonger storyline has been all but dropped, any connections to previous characters (sans Riddick) are completely unbelievable and the events are a shameless rip off of the first film. Seeing a more “survivalist” and intelligent Riddick is nice, as it’s always been sort of more insinuated than outright shown. The entire world that the events of the film take place on is even moderately interesting, and none of the actors or characters are outright let downs, but overall Riddick falls much closer to the “barely watchable” category than the “brilliant” one.
It’s “cool”, it’s pretty and it’s most certainly entertaining, but it’s not new, it’s not clever, and it’s most certainly not as good as _Pitch Black_.
66%
-_Gimly_
- Repo Jack: The third Pitch Black film “Riddick” is much more focused than its predecessor and a welcome return to the formula that worked so well for the original movie. Riddick is a bad-ass survivalist fighting an extinction level event that threatens everybody, with an assembly cast that is colorful and fun to watch.