The film began as a written by Reddick for an episode of, in order for Reddick to get a TV agent. A colleague at New Line Cinema persuaded Reddick to write it as a feature-length film. Later, Wong and Morgan, The X-Files writing partners, became interested in the script and agreed to rewrite and direct the film, marking Wong's film directing debut. Filming took place in and, with additional scenes filmed in. It was released on March 17, 2000, and became a financial success, making $10 million on its opening weekend. The DVD release of the film, released on September 26, 2000, in the United States and Canada, includes commentaries, deleted scenes, and documentaries.
The film received mixed reviews from critics. Positive reviews praised the film for 'generating a respectable amount of suspense', 'playful and energized enough to keep an audience guessing', 'an unexpectedly alert teen-scream disaster chiller', and the performance of, while negative reviews described the film as 'dramatically flat' and 'aimed at the teen dating crowd'. It received the for and for Sawa's performance. The film's success spawned a, encompassing four additional installments, as well as a series of. • as • as • as • as • as • as • as • as • as • as • as • Lisa Marie Caruk as • as • Forbes Angus as • as • as Numerous film characters are named after famous Horror film directors, actors and producers: Billy Hitchcock is named after, the Browning family and Tod Waggner are named after, Larry Murnau is a reference to, Blake Dreyer to, Valerie Lewton to, Agent Schreck to, Terry Chaney to, Christa Marsh reminds of, Agent Weine of, and George Waggner is directly named after Universal Horror film producer. Production [ ] Development [ ] 'One thing we were all in agreement on from the start is that we didn't want to do a slasher movie. We didn't want a guy in a dark cloak or some kind of monster chasing after these kids.
That's been done again and again. I became very excited when we decided to make the world at large, in the service of death, our antagonist. Everyday objects and occurrences then take on ominous proportions and it becomes less about whether or not our characters are going to die and more about how they will die and how they can delay their deaths. The entertainment value is in the 'ride' not in the outcome, and by placing the premise of the film on the inevitability of death, we play a certain philosophical note'. — James Wong on how he accepted the directing and writing privileges for the film.