A work in constant progress (and occasional regress).
Release Date:
October 28, 1994
Original Title:
Little Odessa
Alternate Titles:
Kis Odessza
Little Odessa - Eiskalt wie der Tod
Mikri Odissos
Pikku Odessa
Retorn a Little Odessa
Ritoru Odessa
Viver e Morrer em Little Odessa
Genres:
Crime | Drama
Production Companies:
Fine Line Features
Live Entertainment
New Line Cinema
Production Countries:
United States of America
Ratings / Certifications:
FR: 12 IT: VM14 US: R
Runtime: 98
Long separated from his Russian family, hitman Joshua returns to Brighton Beach for a contract killing for the Russian Mafia. His abusive father, Arkady, banned him from returning after Joshua committed his first murder. He takes up residence in a hotel, and soon everyone knows he has returned. He goes home to visit his dying mother, Irina, and prepares for the assassination, getting drawn back into the criminal community he left behind.
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ADR Editor:
Susan Dudeck
ADR Mixer:
Bob Baron
David Boulton
Robert Deschaine
Charleen Richards-Steeves
Art Department Coordinator:
Lisa Davis
Art Direction:
Judy Rhee
Assistant Costume Designer:
Vicki Farrell
Joan Kaufman
Assistant Editor:
Jeffrey Ford
Assistant Hairstylist:
Kelly MacNeal
Assistant Location Manager:
Andrew Saxe
Assistant Makeup Artist:
Kelly MacNeal
Best Boy Electric:
Andy Watts
Best Boy Grip:
David Burroughs
Boom Operator:
Jeanne Gilliland
Casting:
Douglas Aibel
Casting Assistant:
Jordan Beswick
Charge Scenic Artist:
Gadi Barak
Co-Producer:
Kerry Orent
Color Timer:
Bob Fredrickson
Construction Coordinator:
Danny Rovira
Costume Assistant:
Kevin Donaldson
Costume Design:
Michael Clancy
Dialect Coach:
Suzanne Celeste
Dialogue Coach:
Olegar Fedoro
Dialogue Editor:
Ulrika Akander
Kimberly Lambert
James Matheny
Mark Seagraves
Director:
James Gray
Director of Photography:
Tom Richmond
Dolby Consultant:
Thom 'Coach' Ehle
Dolly Grip:
Tony Arnaud
Driver:
Bobby Marsh
Editor:
Dorian Harris
Electrician:
Patrick Cady
Margot Kingon
Executive Producer:
Claudia Lewis
Rolf Mittweg
Nick Wechsler
Extras Casting Assistant:
Kalev Kuusoeks
First Assistant Camera:
Emelia Stockdale
First Assistant Director:
Steve Apicella
First Assistant Editor:
Brian Johnson
Foley Artist:
Zane D. Bruce
Alicia Stevenson
Foley Mixer:
David Jobe
Gaffer:
Eric Schmidt
Grip:
Pat Donovan
Vadim Frumin
Margaret Heidenry
Xavier Henselmann
Key Grip:
Jonathan Mintz
Key Hair Stylist:
Karen Nichols
Key Makeup Artist:
Karen Nichols
Leadman:
Jim Lillis
Location Assistant:
Jocelyn Jansons
Sarah Lindborg
Location Manager:
Eddy Collyns
Music Coordinator:
Richard Henderson
Music Editor:
Dick Bernstein
Philip Tallman
Music Supervisor:
Dana Sano
Negative Cutter:
Sharon McGeeney
On Set Dresser:
Annie Ballard
Original Music Composer:
Dana Sano
Post Production Supervisor:
Michael J. Harker
Lisa Rosen
Producer:
Paul Webster
Production Accountant:
Margo Myers
Production Assistant:
Brian David Fisher
Mimi Turner
Production Coordinator:
Victoria McGarry
Production Design:
Kevin Thompson
Production Manager:
Christopher Goode
Production Office Assistant:
Victoria Robinson
Production Sound Mixer:
Tom Paul
Property Master:
Dave Dearberg
Script Supervisor:
Julie Oppenheimer
Second Assistant Camera:
Elizabeth Wick
Second Assistant Director:
David M. Cox
Second Second Assistant Director:
David 'Wex' Wechsler
Set Decoration:
Charles Ford
Set Dresser:
Michael Preston
Set Production Assistant:
Gavin J. Behrman
Sound Editor:
Athonia Cappelli
Sound Effects Editor:
Fred Cipriano
Sound Re-Recording Mixer:
Gary Gegan
Special Effects:
Drew Jiritano
John Stifanich
Stand In:
C.J. Byrnes
Still Photographer:
Prashant Gupta
Stunt Coordinator:
Roy Farfel
Supervising Sound Editor:
Lewis Goldstein
John A. Larsen
Swing:
Stuart Montgomery
Mike Murphy
Thanks:
Bryan Burk
Scott Fleischer
John Lesher
Mark Ordesky
Matt Reeves
Unit Publicist:
Teri Kane
Wardrobe Supervisor:
Ellen Cowhey
Weapons Master:
Rick Washburn
Writer:
James Gray
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Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.