A WWII pilot traveling with top secret documents on a B-17 Flying Fortress encounters an evil presence on board the flight.

Credits: TheMovieDb.

Film Cast:

• Maude Garrett: Chloë Grace Moretz
• Stu Beckell: Nick Robinson
• Anton Williams: Beulah Koale
• Walter Quaid: Taylor John Smith
• John Reeves: Callan Mulvey
• Tommy Dorn: Benedict Wall
• Terrence Taggart: Byron Coll
• Bradley Finch: Joe Witkowski
• Baby: Liam Legge
• Baby: Asher Bridle

Film Crew:

• Music Supervisor: Karyn Rachtman
• Production Design: Gary Mackay
• Additional Sound Re-Recording Mixer: Phil Heywood
• Executive Producer: Terry Dougas
• Stunt Double: Robert Young
• Special Effects Supervisor: Jason Durey
• Key Grip: Kayne Asher
• Standby Art Director: Mike Becroft
• Writer: Max Landis
• Stunt Coordinator: Tim Wong
• Producer: Brian Kavanaugh-Jones
• Producer: Kelly McCormick
• Writer: Roseanne Liang
• Executive Producer: Annie Marter
• Second Unit Director: Tom Hern
• Director of Photography: Kit Fraser
• Original Music Composer: Mahuia Bridgman-Cooper
• Still Photographer: Kirsty Griffin
• Script Supervisor: Laura Miles
• Editor: Tom Eagles
• First Assistant Director: Hamish Gough
• Second Unit Director of Photography: Andrew McGeorge
• Dialect Coach: Jacque Drew
• Casting: Chelsea Ellis Bloch
• Sound Effects Editor: Gareth Van Niekerk
• Music Consultant: Mary Ramos
• Executive Producer: Paris Kasidokostas Latsis
• Costume Standby: Nat Van Halle
• First Assistant “A” Camera: Ben Rowsell
• Sound Designer: Amy Barber
• Local Casting: Stu Turner
• Casting: Marisol Roncali
• Co-Producer: Belindalee Hope
• Producer: Fred Berger
• Costume Design: Kristin Seth
• Prosthetic Designer: Gabrielle Jones
• Executive Producer: Jean-Luc De Fanti
• ADR Mixer: Jeffrey Roy
• Storyboard Artist: Dylan Coburn
• Second Assistant “B” Camera: Jonathan Bowes-Onions
• Stunts: Jacqueline Lee Geurts
• Casting Assistant: Sara Stone
• Second Assistant Director: Sophie Calver
• ADR Mixer: Beau Emory
• Key Makeup Artist: Dianne Ensor
• Unit Publicist: Courtney Mayhew
• Assistant Production Coordinator: Alana Henderson
• First Assistant “B” Camera: David Hammond
• Production Assistant: Jaya Beach-Robertson
• First Assistant “A” Camera: George Hennah
• Supervising Sound Editor: Nick Buckton
• Sound Supervisor: Greg Junovich
• First Assistant Accountant: Jonathan Harding
• Colorist: Clare Burlinson
• Special Effects Makeup Artist: Dan Perry
• Sound Mixer: Fred Enholmer
• Sound Re-Recording Mixer: Alexis Feodoroff
• Music Editor: Emile de la Rey
• Executive Producer: Sandra Yee Ling
• Art Direction: Mark Stephen
• Animation Supervisor: Anneka Fris
• Production Runner: Keely Meechan
• Special Effects Coordinator: Tanya Bidois
• Foley: Jordan Smith
• Co-Producer: Alexander Borgers
• Production Accountant: Marc Tyron
• Production Assistant: Tameka Sowman Vahatau
• Transportation Captain: Aaron Gibson
• Visual Effects: Joe Howes
• Music Coordinator: Jenna Ackerman
• Third Assistant Director: Olivier Campana
• Second Assistant “B” Camera: Jamieson Montgomery
• Gaffer: Sam Jellie
• Second Assistant “A” Camera: Nick Willoughby
• Property Master: Mela Blackwell
• Sound Re-Recording Mixer: Tim Chaproniere
• Stunts: Kawhia Chambers
• VFX Artist: Jason Astley
• Costume Illustrator: Miriam Silvester
• Visual Effects Supervisor: Stephen Unterfranz
• Visual Effects Producer: Steven McKendry
• Stunt Double: Lucy O’Connor
• Second Assistant “B” Camera: Jake Stanton
• First Assistant “B” Camera: David Steel
• Digital Imaging Technician: Michael Urban
• Digital Imaging Technician: James Elliston
• Digital Imaging Technician: Isaac Spedding
• Boom Operator: Gerry Parke
• Best Boy Electric: Nicklaus Pretscherer
• Best Boy Grip: Craig Johnson
• Grip: Mickaele Evans
• Assistant Costume Designer: Barbara Tee
• Hairstylist: Rachel Johanson
• Hairstylist: Pilar Alegre
• Production Manager: Karla Wallace
• Production Coordinator: Andrew Marshall
• Production Runner: Dakota Zemke-White
• Casting Associate: Joe Fisher
• Casting Assistant: Sinead Fitzgerald
• Stunts: Riley Phillips-Harris
• Set Decoration: Tane Jarrett
• Still Photographer: Jennifer Raoult
• Still Photographer: Geoff Short
• Foley: Sam Moore
• Rotoscoping Artist: Kay Hoddy

Movie Reviews:

• furious_iz: Honestly I don’t know why I enjoyed this film. It is dumb, really really dumb. There are so many bad American accents from the New Zealand cast, the stunts are snort out loud ridiculous. But somehow, this film has a visual style and creativity that at times lift it above it’s B Movie and proud station. I would be VERY selective about who I recommend it to. I really had fun watching and shaking my head at the silliness and would absolutely watch it again
• SWITCH.: Perhaps the real problem is that, as we’ve seen with films like ‘Victor Frankenstein’, ‘American Ultra’, and ‘Bright’, Max Landis just isn’t a particularly good writer. “I write scripts the way a lot of people play ‘Angry Birds,’ he once quipped. As you can imagine, not all of those scripts need to be filmed. At the same, Roseanne Liang rises to the challenge of her one-location war movie, making a hunk of airborne junk feel downright claustrophobic and staging episodes of bonkers action with an admirable lack of restraint. ‘Shadow in the Cloud’ is an absolute mess, but it’s also a small miracle that it’s as entertaining as it is.
  – Jake Watt

  Read Jake’s full article…
  https://www.maketheswitch.com.au/article/review-shadow-in-the-cloud-wildly-messy-wwii-fantasy-horror

• MSB: If you enjoy reading my Spoiler-Free reviews, please follow my blog @
  https://www.msbreviews.com

  I consider Chloë Grace Moretz (Greta) one of the best actresses of her generation. I would be pretty surprised if she doesn’t get at least an Oscar nomination in the next ten years. While it’s true that her choices don’t always end up being good movies, she’s rarely the one to blame when things don’t work out. In Roseanne Liang’s film, she’s undoubtedly the glue that holds everything together. Moretz perfectly handles what it’s close to being a solo movie – she’s literally stuck inside a tiny turret – demonstrating extraordinary emotional range.

  For most of the runtime, the viewers are placed inside a claustrophobic place, watching the protagonist communicate through radio with the other crew members, who so happen to be extremely sexist, annoying male characters. While I do understand the intent behind this character archetype, it becomes so on the nose that it almost makes the director and her co-writer, Max Landis, the ones who seemingly never met any other type of army men. The narrative holds so many distinct ideas that go from a monster flick to a war drama, and their balance is all over the place, just like the score (Mahuia Bridgman-Cooper).

  Once the mystery surrounding her package is revealed, and the action sequences start taking the front stage, the story takes a huge leap into the utterly absurd. From one of the most shockingly hilarious uses of an airplane explosion to the unbelievability of everything that happens in the third act, it isn’t easy to shut down my brain when the film until that point was going more for the grounded depiction of how it is to be an isolated woman in the Air Force than a straight-up sci-fi/monster/action flick.

  Despite all that, I can’t deny its entertainment value and the exceptional lead performance.

  Rating: B-

• Kamurai: Great watch, would watch again, and do recommend.

  Sometimes it is a really great thing to go into a movie with extremely low expectations, and I certainly went into this thinking it’s going to be boring. That’s its a WW2 courier movie, but it really is so much more.

  It honestly feels like this is a collection of stories that are all stitched together in a fantastic way. It’s modular storytelling, and while it’s a trend I’ve been noticing in the beginning of the 2020’s this goes above and beyond. It’s almost a 5-act movie, but each act is it’s own 3-chapter act. They nailed the writing in this so that it is both powerful and captivating.

  It’s not just a WW2 story (though that’s the setting), it’s not just a woman’s story, it’s not just a hero vs evil story, it’s not just a captive / isolation story, it’s not just a combat story: it’s really all of these and more with some great cinematography to enhance it all the way though.

  This is definitely worth the watch, and don’t let any aspect of “I heard it was an x movie” stop you.

  There is something for everyone here, and it’s all good.

• r96sk: This might be one of the most entertaining things I’ve ever seen. Simply stupendously sensational stuff.

  ‘Shadow in the Cloud’ is bonkers, I had a blast watching it. There were no rejected ideas in the writers room, that’s for certain! I’m glad to see that this hasn’t been slaughtered via reviews; at least not to the level I was expecting. It’s utter madness and I’m fully here for it, the amount of craziness they fit into less than 80 or so minutes is nuts; the special effects – aside from the iffy end fight, granted – is neat for a production of this standing.

  Chloë Grace Moretz legit gives a great performance, easily her best that I’ve currently seen. The rest of the cast fit their roles well, with the radio comms made great use of for large portions for the cast behind Moretz. I thought it’d get boring being so talky at the beginning, but it never did.

  Immense rewatchability to this, I’ll no doubt be revisiting it. It makes absolutely zero sense, like whatsoever, but it might be the best ‘switch off your brain’ flick out there. No joke. It’s unashamedly stupid and I kinda love it; you definitely can’t deny its originality either!

• CinemaSerf: I had quite high hopes for this – I liked the premiss. A WWII bomber flight has “Maude” (Chloë Grace Moretz) secreted in the lower gun turret. She has a secret cargo – but what could it be…? As they travel, some of the rather asinine crew become suspicious of her, her package and when they begin to see things; when things start to go a bit awry with the plane – then the crew must brace themselves for quite a surprise! Sadly, though – the execution of this isn’t up to much. The acting is poor, the special effects straight from an episode of “Stargate” and the score tries very hard to compensate for the lack of menace generated by either cast or director. The story allows itself to get caught up in the relationship issues of the crew, never a great thing with an adventure film and the ending is just plain daft. Sorry – I love my sci-fi, but this is just really disappointing.