Inspired by the incredible events surrounding a treacherous attempt to reach the summit of the world’s highest mountain, “Everest” documents the awe-inspiring journey of two different expeditions challenged beyond their limits by one of the fiercest snowstorms ever encountered by mankind. Their mettle tested by the harshest of elements found on the planet, the climbers will face nearly impossible obstacles as a lifelong obsession becomes a breathtaking struggle for survival.

Credits: TheMovieDb.

Film Cast:

  • Rob Hall: Jason Clarke
  • Beck Weathers: Josh Brolin
  • Scott Fischer: Jake Gyllenhaal
  • Doug Hansen: John Hawkes
  • Guy Cotter: Sam Worthington
  • Helen Wilton: Emily Watson
  • Andy ‘Harold’ Harris: Martin Henderson
  • Jon Krakauer: Michael Kelly
  • Jan Arnold: Keira Knightley
  • Peach Weathers: Robin Wright
  • Michael Groom: Thomas M. Wright
  • Ed Viesturs: Clive Standen
  • Yasuko Namba: Naoko Mori
  • Meg Weathers: Mia Goth
  • Caroline Mackenzie: Elizabeth Debicki
  • Neal Beidleman: Tom Goodman-Hill
  • Sandy Hill Pittman: Vanessa Kirby
  • Lou Kasischke: Mark Derwin
  • Anatoli Boukreev: Ingvar Sigurdsson
  • Ang Dorjee: Ang Phula Sherpa
  • Lene Gammelgaard: Charlotte Bøving
  • Lopsang: Pemba Sherpa
  • Charlotte Fox: Amy Shindler
  • Tim Madsen: Simon Harrison
  • Klev Schoening: Chris Reilly
  • John Taske: Tim Dantay
  • Frank Fischbeck: Todd Boyce
  • Ian Woodall: Justin Salinger
  • Bub Weathers: Stormur Jón Kormákur Baltasarsson
  • Stuart Hutchison: Demetri Goritsas
  • Makalu Gau: Chike Chan
  • David Breashears: Micah A. Hauptman
  • Janie: Nancy Baldwin
  • Linda: Lucy Newman-Williams
  • Colonel Madan: Vijay Lama
  • Co-Pilot: Avin Shah
  • Airline Captain (uncredited): Johnny Otto

Film Crew:

  • Editor: Mick Audsley
  • Screenplay: William Nicholson
  • Producer: Nicky Kentish Barnes
  • Producer: Tim Bevan
  • Producer: Eric Fellner
  • Director of Photography: Salvatore Totino
  • Executive Producer: Liza Chasin
  • Key Hair Stylist: Carmel Jackson
  • Casting: Fiona Weir
  • Orchestrator: Dario Marianelli
  • Supervising Sound Editor: Glenn Freemantle
  • Foley Artist: Peter Burgis
  • Executive Producer: Randall Emmett
  • ADR Mixer: Peter Gleaves
  • Producer: Brian Oliver
  • Screenplay: Simon Beaufoy
  • Producer: Baltasar Kormákur
  • Art Direction: Alessandro Santucci
  • Line Producer: Tori Parry
  • Co-Producer: David Breashears
  • Producer: Tyler Thompson
  • Second Unit Director of Photography: Kent Harvey
  • Producer: Evan Hayes
  • Executive Producer: Brandt Andersen
  • Visual Effects Editor: Sigurður Eyþórsson
  • Casting Associate: Alice Searby
  • Costume Design: Guy Speranza
  • Executive Producer: Mark Mallouk
  • Production Design: Gary Freeman
  • Costume Supervisor: Annie Crawford
  • Visual Effects Supervisor: Dadi Einarsson
  • Music Editor: Christopher Benstead
  • Sound Re-Recording Mixer: Niv Adiri
  • Sound Effects Editor: Danny Freemantle
  • Foley Mixer: Glen Gathard
  • Foley Editor: Peter Hanson
  • Steadicam Operator: Jason Ewart
  • Supervising Art Director: Tom Still
  • Dolby Consultant: James Shannon
  • Visual Effects Producer: Priyanka Balasubramania
  • Still Photographer: Jasin Boland
  • Foley Artist: Jack Stew
  • Visual Effects Producer: Tim Caplan
  • Rigging Gaffer: Marco Sticchi
  • Wigmaker: Alex Rouse
  • Aerial Director of Photography: John Marzano
  • Art Department Coordinator: Francesca Birri
  • Supervising Dialogue Editor: Nina Hartstone
  • Sound Effects Editor: Dillon Bennett
  • Script Supervisor: Laura Miles
  • Digital Intermediate: Todd Kleparski
  • Visual Effects Supervisor: Simon Hughes
  • Visual Effects Editor: Keith Mason
  • Executive Producer: Lauren Selig
  • Makeup Designer: Jan Sewell
  • Visual Effects Coordinator: Jenny King
  • Visual Effects Supervisor: Glen Pratt
  • Script Supervisor: Zoe Morgan
  • Hairstylist: Annette Field
  • Hairstylist: Zoey Stones
  • Visual Effects Editor: Theo Demiris
  • Set Decoration: Raffaella Giovannetti
  • Assistant Art Director: Gianpaolo Rifino
  • Property Master: Sebastiano Murer
  • Visual Effects Supervisor: Arne Kaupang
  • Visual Effects Producer: Måns Björklund
  • Digital Intermediate: Kira Fitzpatrick
  • Gaffer: Paul McGeachan
  • Compositors: Brian N. Bentley
  • Executive Producer: Peter Mallouk
  • Makeup Artist: Matteo Silvi
  • ADR Mixer: Mark Appleby
  • Visual Effects Editor: Lukasz Bukowiecki
  • Co-Producer: David Nichols
  • First Assistant Camera: Emiliano Topai
  • Music Supervisor: Maggie Rodford
  • Visual Effects Coordinator: Melanie Farley
  • First Assistant Editor: Pani Scott
  • 3D Supervisor: Oliver Cubbage
  • Additional Camera: Shaun Cobley
  • First Assistant Camera: Paul Wheeldon
  • Visual Effects Producer: Roma O’Connor
  • Art Department Assistant: Simona De Angelis
  • Art Department Assistant: Rosalyn Mitchell
  • Assistant Art Director: Ed Symon
  • Researcher: Cécile Bouquet
  • Assistant Costume Designer: Gabriella Loria
  • Animation: Kubilay Kocaoglu
  • Animation: Olafur Thor Magnusson
  • Animation: Marion Strunck
  • CG Supervisor: Matthias Bjarnason
  • Special Effects Supervisor: Richard Van Den Bergh
  • Visual Effects Coordinator: Francine Fontaine
  • Visual Effects Coordinator: Ines Li
  • Visual Effects Coordinator: Finola O’Brien
  • Visual Effects Coordinator: Deeps Hargunani
  • Visual Effects Coordinator: Caitlin Thomas
  • Visual Effects Coordinator: Mikael Schärström
  • Visual Effects Coordinator: Toby White
  • Hairstylist: Laura Lilley
  • Makeup Artist: Federico Laurenti
  • Gaffer: Felice Guzzi
  • Rigging Gaffer: Ross Grainger
  • First Assistant Camera: Brian Greenway
  • First Assistant Camera: Paul Santoni
  • ADR Editor: Paula Anhesini
  • Visual Effects Producer: Melody Woodford
  • Visual Effects Supervisor: Stefan Andersson
  • Sound Mixer: Adrian Bell
  • Visual Effects Producer: Hjörtur Grétarsson
  • Construction Manager: Peter N. Brown
  • Grip: Jim Philpott
  • Production Manager: Mylan Stepanovich
  • Software Engineer: Lisa Curtis Saunders

Movie Reviews:

  • Simon Foster: “Director Baltasar Kormákur’s vast, encompassing vision thematically broaches the existential drive that consumes extreme climbers, questioning both the brusque heroism and innate fatalism of those that attempt to conquer such harsh climes…”

    Full review here: http://screen-space.squarespace.com/reviews/2015/9/10/everest.html

  • John Chard: 1996, and Mother Nature’s big mama is playing her hand again.

    Based on a true story, Everest tells about a climbing expedition on the world’s highest mountain that would become devastated by a severe snow storm.

    She stands and watches over us all, she is Mount Everest, and climbing her is seen as one of the pinnacles of mountaineering. No matter how many lives are lost over the years, there will always be another group of adventurers ready to take on the mountain and the elements that come with her.

    The ill fated 1996 trek up Everest gets a worthy cinematic treatment here. Sure it suffers from some of the pitfalls of the disaster movie genre, such as weak characterisations and fake sequences, but emotional investment is high and ready to be grasped by those so inclined. The drama on the mountain is gripping, and thankfully this is matched by the frantic concurrent story strands involving the family and friends waiting at base camp and the family homes. Cinematography is often breathtaking, the acting performances as solid as one of Everest’ rock faces, but it’s the story that sells itself. A tale well worth reading about, and the cynical among us should do well to remember this fact. 8/10

  • Reno: > One of the most realistically approached adventure movie based on the real.

    I was completely surprised with the movie. Because I was expecting ‘Vertical Limit’ kind of movie. Like, you know, there’s no heroic adventure with the incredible stunt sequences in it. But it was very real and more real. Usually while adapting the true events for the screen, unnecessary overdose stunts created to commercialise the product. But in this it was too much closer to the real world adventure, like a documentary film.

    It was a man versus the mother nature and nothing else. The human villains were not included or the romance and other subplots. It was a multi starrer movie. Lots of big names played only a small role and magnified the expectation for the movie. But like I said expecting awesomeness will lead you to a great disappointment. One must approach this movie with a clear mind for a good result, because I felt the film very honest, and being honest is always a bit boring.

    The film was emotionally very strong. No character developments, not individually, but the entire film was focused on one particular expedition taken by a couple of trekking teams that goes wrong after they got hit by a storm. This is Jason Clarke’s one of the best films in a lead role, as well as for the director of ‘Contraband’. I definitely regret missing it out in digital 3D. It is a good watch, absolutely refreshing from the mainstream commercial films.


  • Peter McGinn: I have read dozens of books about mountaineering expeditions, and several about this particular disastrous climbing season, including Jon Krakuer’s bestseller. Overall I think they did a good job depicting the events in this movie, which makes sense, as they used the expertise of Guy Cotter, a climbing and business partner of Rob Hall, one of the expedition leaders in the forefront of this tragedy.

    They do an adequate job of putting the grandeur of the mountain on display, while still focusing on the human interactions and personal physical challenges of the characters. The plot runs fairly true to events and the dialogue is well-written. They made changes, of course, such as details of the helicopter rescue scene, but stayed true to the important stuff.

    I think I agree with the above-mentioned Guy Cotter, who stated in an interview that he only wished they had depicted in more depth the motivations of climbers to risk their lives climbing up in the “Death Zone.” For some climbers of Everest, their reasons are mundane: to be able to gain respect by saying they did it, or to “inspire” others to be all they can be, or even to make money and win some measure of fame.

    But the true mountaineers are driven by something deeper, close to what they see as their self identity. They can’t not climb. There is exhilaration in challenging their physical limits and in appreciation of the rare beauty found at high altitudes. If it was easy they might not do so much of it, being in an odd way addicted to the pain, cold and danger. WHen they are on the mountains they dream of home; when they are home they dream of the mountains. It’s reminds me of aging boxing champions who keep on fighting when they should retire. Oh, they want the money, obviously, but even well-off champions may fight on and endure pain and suffering inside the ring for the cheers of the crowd and the additional acclaim it may bring them.

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