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The X Files: I Want to Believe

2008  104 MN


The X Files: I Want to Believe on IMDb
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Chris Carter

Six years after the events of The X-Files series finale, former FBI agent Doctor Dana Scully is now a staff physician at Our Lady of Sorrows, a Catholic hospital, and treating a boy named Christian who has Sandhoff disease, a terminal brain condition. FBI agent Drummy arrives to ask Scully’s help in locating Fox Mulder, the fugitive former head of the X-Files division, and says they will call off its manhunt for him if he will help investigate the disappearances of several women, including young FBI agent Monica Banan. Mulder and Scully are called back to duty by the FBI when a former priest claims to be receiving psychic visions pertaining to a kidnapped agent.

 Release Date

July 24, 2008


1h44m (104 min)


$ 30,000,000


$ 69,363,381

 Top Billed Cast

 David Duchovny
 Fox Mulder
 Gillian Anderson
 Dana Scully
 Amanda Peet
 ASAC Dakota Whitney
 Billy Connolly
 Father Joseph Crissman
 Agent Mosley Drummy
 Mitch Pileggi
 Walter Skinner

 Written by

Frank Spotnitz Screenplay
Chris Carter Screenplay
Jenny Seinen Storyboard


To find the truth, you must believe.



David Duchovny
  Fox Mulder
Gillian Anderson
  Dana Scully
Amanda Peet
  ASAC Dakota Whitney
Billy Connolly
  Father Joseph Crissman
  Agent Mosley Drummy
Mitch Pileggi
  Walter Skinner
Callum Keith Rennie
  2nd Abductor - Janke Dacyshyn
Adam Godley
  Father Ybarra
Alex Diakun
  Gaunt Man
Nicki Aycox
  2nd Victim - Cheryl Cunningham
Fagin Woodcock
  1st Abductor - Franz Tomczeszyn
Marco Niccoli
  Christian Fearon
Carrie Ruscheinsky
  Margaret Fearon
Spencer Maybee
  Blair Fearon
Veronika Hadravá
  Female Assistant
Denis Krasnogolov
  Male Assistant
Patrick Keating
  Slight Man
Stephen E. Miller
  Feed Store Proprietor
Xantha Radley
  Monica Bannan
Lorena Gale
  On Screen Doctor
Donavon Stinson
  Suited Man
Dion Johnstone
  1st Cop
Sarah-Jane Redmond
  Special Agent in Charge
Christina D'Alimonte
  Doctor's Colleague
Vanesa Tomasino
  Hallway Agent
Luvia Petersen
  O.R. Nurse
Babs Chula
Marci T. House
Joseph Patrick Finn
  Whispering Priest
Beth Siegler
Stacee Copeland
Tom Charron
  Sheriff Horton
Brent C.S. O'Connor
  Tow Truck Driver
Dave Cote
Chris Carter
  Man sitting in hospital hallway
Paul Mitton
  FBI Agent
Vanessa Morley
  Female Hallway Agent
Lynne Burnett
  Murder Victim (uncredited)
Celeste Insell
  Board Room Doctor (uncredited)
Teana-Marie Smith
  Nurse (uncredited)


Frank Spotnitz
Chris Carter
Chris Carter
Mindy Marin
Victoria Down
  Makeup Department Head
E. J. Foerster
  Second Unit
David Hadaway
  Set Designer
Leonardo Lara
  Set Dressing Artist
Andrew Edwards
Graham Houston
  CG Painter
Brian Sales
Trent Smith
  Visual Effects Producer
Jennifer Mylrea
Tony Wohlgemuth
  Art Direction
Christopher Mark Pinhey
  Makeup Effects
Cheryl Marion
  Assistant Art Director
David Alexander
  CG Supervisor
Jason Dunn
Guy Bews
Dave Lane
Jeff Sanca
Chris Webb
Ryan Bailey
Bill Roe
  Director of Photography
Warren Hendriks
  Sound Effects Editor
Erin Michael Rettig
  Sound Engineer
Charles Collyer
Rod Park
  Visual Effects Producer
Andrea Shear
  CG Painter
Christina Spring
Donald Tse
Dmitry Vinnik
  CG Painter
Duane Dickinson
Chris Carter
Mark S. Freeborn
  Production Design
Jared Brown
  Set Dressing Artist
Mike Rennison
  Construction Coordinator
David Betancourt
Randall Guth
  First Assistant Sound Editor
Mitch Bax
  Camera Intern
Heike Brandstatter
Lisa Tomczeszyn
  Costume Design
Charleen Richards-Steeves
  ADR & Dubbing
Thomas F. Ford IV
  Visual Effects Producer
Andrew Lema
  CG Painter
Patrick Thompson
Todd Scott
Natasha Vasiluk
Marshall Virtue
Richard A. Harris
Coreen Mayrs
Paul Massey
  Sound Re-Recording Mixer
Alicia Stevenson
David Gauthier
  Special Effects Coordinator
Glenn Curry
  CG Painter
Richard Martin
Pierre Raymond
  Executive Visual Effects Producer
Dan Rucinski
  Production Supervisor
Anne Tremblay
Mike Dobbin
Frank Spotnitz
David McKimmie
  Post-Production Manager
Sabine Schoppel
  Art Department Coordinator
David Giammarco
  Sound Re-Recording Mixer
Anouk Deveault-Moreau
  Visual Effects Supervisor
Marty Taylor
Dave Williams
Sandy Monesmith
Ryan Epp
Jack Noriaki Matsumoto
  CG Painter
Wayne A. Shepherd
Mike Spring
Dean Hart
Paul Rinaldi
  Construction Foreman
Rodrigo Armendariz
Junji Hirano
  CG Painter
Daniel Leduc
  Visual Effects Producer
Tony Morelli
  Stunts Coordinator
Mark Prior
  Set Dressing Artist
Jenny Seinen
David Grimaldi
  Sound Effects Editor
Mark Goldberg
Steve J. McLeod
Mark Snow
  Original Music Composer
Geoff Coulter
  Set Dressing Artist
David Lucarelli
  ADR & Dubbing
Michel Barrière
Mat Beck
  Visual Effects Supervisor
Matthias Lowry
Randal Shore
  Visual Effects Producer
Melissa R. Stubbs
Gitte Axen
  Makeup Artist
Steve Au
  CG Painter
Don Greenberg
Corbin Fox
Julio Pallares
  Makeup Effects
Wayne Bennett
  Production Manager
Brenda Ilic
  Visual Effects Producer
Eugene Paluso
  CG Painter
Ian Wilson
  CG Painter
Kimberly Chiang
Bill Edwards
Matt Almas
Shirley Inget
  Set Decoration
Maureen Terezakis
  Makeup Effects
Simon Abbott
  Production Manager
Paul Rabwin
  Post Production Supervisor
Chuck Michael
  Sound Designer
Joni Jacobson
  Visual Effects Producer
Vinay Mehta
Tena Montoya
  Visual Effects Producer
John C. Wash
  Visual Effects Supervisor
George Collins
  Video Assist Operator
Bill Terezakis
  Makeup Effects
Raul Casillas
  Set Dressing Artist
Scott Holburn
  Set Dressing Artist
Martin Lacroix
  Boom Operator
William Unrau
Brian Petras
Chris Atkinson
Brent O'Connor
  Unit Production Manager
Linda Drake
  Visual Effects Editor
James Bamford
Mike Mitchell
  Stunt Coordinator
Brent O'Connor
  Executive Producer
Portia Tickell
  Script Supervisor
Matthew Harrison
  Foley Editor
Eric Partridge
  Assistant Property Master
Eric A. Larsen
  Assistant Sound Editor
Dennis Rogers
  Sound Recordist
Bryce Brecheisen
  Visual Effects Coordinator
John S. Bartley
  Second Unit Director of Photography
Tim Gomillion
  Sound Recordist
Galen Goodpaster
  Assistant Sound Editor
Wayne McLaughlin
  Property Master
Michael T. Williamson
  Sound Mixer
Mildred Iatrou
  ADR Editor
Smokey Cloud
  Assistant Sound Editor
Cory Budney
  First Assistant Camera
Brad McMurray
  Set Decorating Coordinator
Shane Strickman
  Visual Effects Coordinator
Scott Curtis
  Foley Editor
Marta McLaughlin
  Assistant Property Master
Gloria D'Alessandro
  Dialogue Editor
Mark Sweatman
  Production Assistant
Charles Andre


- The production name of this film was "Done One" (it was "Blackwood" for the first film).
- Amanda Peet was chosen especially after Carter and Spotnitz saw "Studio 60". There were looking for a character with authority.
- Xzibit won the part after auditionning.


 New Quote


 New Review

Horrible movie
By DJ on December 25, 2015

I truly think that you can learn much more from an art form by tasting its worse part than its best. For instance, if you read a great book, you will find everything great and will have a sense of closure. Try to reproduce it? It will be damn hard.
But if you stop and read a very bad written book, you will instantly see the things that should have been done differently. This is true in literature, in music and especially in movies.
I am very sad to write that "The X-Files: I Want to Believe" is unfortunately such example of movies to its worse. There are so many bad things in this film that I almost don't want to start, as I have great respect for the cast and crew that worked on this film. But I think a good review is about being honesty. So let's be honest.

This move is awfully bad. Even worse. I have seen thousands of movies, but this is one of the worse movies of my entire life.

The trailer gave the impression that there was a big mystery hidden under the snow. And Father Joe was helping the FBI to find this place. "It's here. It's heeere!", would he repeat. I instantly thought it was a brilliant idea. Imagine my deception were all there was was emptiness.
What was the paranormal element of the story? An what was the story anyway? Do you imagine the audience leaving the movie theater and saying "Oh my, what a great story!"
Meanwhile, I remember when Scully was an intelligent character. In this film, when she is doing researches on Stem-cell research, I just felt very bad for her...

Scary movie
The light was pretty cool, but there was no atmosphere at all during the all film. For months, Chris Carter kept saying "This is a good-old scary movie." Well, I was far more scared during the previews just before the movie than during the 1h40 of TXF2. The only moments that should have been scary are so badly done that it wasn't scary at all. On the contrary, it felt very disturbing, in a pathetic way.

And yes, this film felt very disturbing. For instance, the George W. Joke was simply out of context. We're talking about art, here. Not some random popcorn movie with lame jokes inside of it.
Remember the first seasons? Just compare any episodes from the first 6 seasons with this one... You get the point.
Then, the theology aspect of the movie is just completely bad and also wrong. And I won't say that I found the movie homophobic, but that aspect of the film was also totally dumb.
It was a time when Carter and Spotnitz could talk about disturbing subjects and find those subjects a right place into the mythology of the show.
For instance, in "Paper Clip" and in "Nisei"/"731", they used the Holocaust to tell a science fiction story with aliens and spaceships... It could have easily become something very silly and unappropriate. But they did it in a marvellous way and in the end, in a very powerful and even very emotional way (remember when Scully almost cried in the camp? it was very moving).
Same thing when our friendly bros. wrote "Home", the most disturbing thing I've ever seen on tv (and Kim Manner's favourite episode)! But it was done in a great way too! And there even were some great shipper scenes and humour in it!

On the other hand, we have IWTB, dealing with pedophiles AND homosexuals. The script mixes those two elements and unintentionally implies that one leads to another.

Let's take the "pedophile camp" sequence. The way of filming it and the script made that scene completely grotesque. But, on the other hand, it was something that I'm sure none of us had ever heard. A pedophile camp? Wow! So that's a good point! Something original on which we can have a thinking on it. And it could have been well done. Actually, when I first learned that Billy Connolly's character was a pedophile, I thought it could be a good idea. Not because I enjoy thinking of seeing a pedophile character, but because I thought "Damn! Chris Carter has some balls and will try to write a disturbing story!"
But that first pedophile sequence was done in a very heavy way. There is nothing delicate about it. And it's bad from the very first second. Indeed, Scully is directly putting her morality face. We can understand that she is reticent to see him (and even more if we know that he's a priest and that she's a religious woman). But a simple little strange look on her face would have been far more than enough. Instead, she just jumps on him, telling him that he's a bad guy because he slept with little children. We don't need her to understand that.
Then, a few seconds later, the cheap "philosophy" starts. That's the worst part of it. Nothing was built first.

And it's the exact same thing for the homosexual aspect. We could argue about this, since this is kind of a surprise. But it went completely flat! When you see the woman's hand on the bald russian, you aren't surprised in a good way, like "Wow! I didn't expect that! That's a good plot twist here!". Instead, you just go "What?!" and the more you see, the more dumb it feels.
And again, from that point in the movie, nothing is built about homosexuality either. So you just see the guy crying over his boyfriend during the final experiment and that's it.

So, in the end, I find the writing very immature. Maybe this comes from the time constraint, maybe not. But whatever the reasons were, the result is here, or should I say, is heeeeeere. Everyone can talk about about homosexuality, racism, pedophilia, raping, etc. But if you do, you have to do it in a decent and intelligent way. Whatever it is a horror movie or a comedy. Remember "La Vita È Bella"? Writing a comedy that is taking place in a jewish death camp during WWII... That's not something you can do without having some balls and writing and rewriting and rewriting until you have a really good script.

And I'm not the uptight kind of guy that is offensed by everything. I could even see a movie about Krycek raping Scully (private joke inside). But in the end, it should be done in an intelligent way, not in a bold way like it is the case in IWTB.

This movie tries to do everything and in the end does nothing at all.

There was one good aspect though. Gillian Anderson is an amazingly talented actress and gives a very good and really intelligent performance. David Duchovny was also very good. They were still Mulder and Scully and that praised chemistry was still there.
Then, I've never liked the acting of Amanda Peet, and this movie isn't an exception.

Billy Connolly
Connolly is a great actor, but not in I Want to Believe. I don't think it's his fault though. His lines were so bad that he had almost no material at all to help him.

For the fans
What does "for the fans" means? If that means throwing plenty of dull references, well, Chris and Frank succeeded it. The is the ninth season syndrom all over again. And I'm afraid to say that, but season 9 was really good, compared to that film. It was as if Chris was thinking "let's putting them into bed and the fans will like it..."

The music
I have nothing to say about the music. There were a few good seconds there, but that was it. Suddenly, I heard a theme from Fight the Future, and I just felt bad because that was a great film! Indeed, when I first saw "Fight the Future" in 1998, I left the movie theater being really exstatic. FTF was PURE GOLD, compared to this one.

In the end, Chris Carter had everything in his hands. A nice budget (yes, 35 millions is really enough), some great actors (Gillian, David, Billy Connolly), the amazing landscapes from Pemberton, and... six years to think about it. I have the feeling that Chris did nothing for 5 years and then wrote a script really quickly because of the WGA strike. This is a shame. And I don't see how this movie will succeed on the box-office.
And I am so disappointed, because Mulder and Scully were back! Duchovny and Anderson were so good together! There were sparks when they were together and it felt so good to see them again. But their characters were just thrown into the emptiness of a very bad script.

So, I just got three minutes left. Time to give it a note... And I'm very sad to say this, but the note I give it is 2 out of 10.

Bad story for a beautiful photography
By Gruic on May 22, 2018

A lot of things works very well on this film. The photography of Bill Roe is amazing for a superb spot.
Mark Snow composed a lot of great songs. I love "The trip to DC", very strong. And the ending theme is outstanding.

BUT Chris Carter and Frank Spotnitz did a shitty job. Spotnitz fanservice lover + Religious Chris Carter = a very very bad result.

So sad.


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 New Topic

The X-Files: I Want to Believe movie: 10 years ago. Share your story!
By DJ on 2018-06-21 11:45:13 ET
Last post by DJ
2133 days ago
Favorite parts?
By Agent_Spooky on 2017-10-14 17:43:34 ET
Last post by Gruic
2374 days ago
Do you think they are together at the end?
By lilly on 2017-10-14 16:56:56 ET
Last post by Agent_Spooky
2383 days ago


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