The X-Files
Fight the future.
1998 | 121m | English
Popularity: 3 (history)
| Director: | Rob Bowman |
|---|---|
| Writer: | Chris Carter, Frank Spotnitz |
| Staring: |
| Mulder and Scully, now taken off the FBI's X Files cases, must find a way to fight the shadowy elements of the government to find out the truth about a conspiracy that might mean the alien colonization of Earth. | |
| Release Date: | Jun 19, 1998 |
|---|---|
| Director: | Rob Bowman |
| Writer: | Chris Carter, Frank Spotnitz |
| Genres: | Mystery, Science Fiction, Thriller |
| Keywords | bomb, helicopter, obsession, extraterrestrial technology, fbi, space marine, mutation, secret society, secret organization, secret lab, x-files, government, ufo, conspiracy, ovine |
| Production Companies | 20th Century Fox, Ten Thirteen Productions |
| Box Office |
Revenue: $189,198,313
Budget: $66,000,000 |
| Updates |
Updated: Feb 03, 2026 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| David Duchovny | Agent Fox Mulder |
| Gillian Anderson | Agent Dana Scully |
| Mitch Pileggi | Assistant Director Walter Skinner |
| William B. Davis | The Cigarette-Smoking Man |
| John Neville | The Well-Manicured Man |
| Martin Landau | Kurtzweil |
| Jeffrey DeMunn | Bronschweig |
| Tom Braidwood | Frohike |
| Blythe Danner | Cassidy |
| Terry O'Quinn | Michaud |
| Dean Haglund | Langly |
| Bruce Harwood | Byers |
| Armin Mueller-Stahl | Strughold |
| Lucas Black | Stevie |
| Christopher Fennell | 2nd Boy |
| Cody Newton | 3rd Boy |
| Blake Stokes | 4th Boy |
| Don S. Williams | Group Elder |
| George Murdock | 2nd Elder |
| Michael Shamus Wiles | Black-Haired Man |
| Darrell Davis | Primitive #1 |
| Carrick O'Quinn | Primitive #2 |
| Tom Woodruff Jr. | Creature #1 |
| Greg Ballora | Creature #2 |
| Ted King | FBI Agent on Roof |
| Luis Beckford | FBI Agent |
| Steve Rankin | Field Agent |
| Gary Grubbs | Fire Captain Cooles |
| Steven M. Gagnon | Last Agent Out |
| Larry Joshua | DC Cop |
| Glendon Rich | DC Cop #2 |
| Gunther Jenson | Security Guard |
| Scott Alan Smith | Technician |
| Ian Ruskin | Well-Manicured Man's Valet |
| Paul Welterlen | Control Room Operator |
| Joel Traywick | Young Naval Guard |
| Milton Johns | British Valet |
| Michael Krawic | 2nd Paramedic |
| Larry Rippenkroeger | Towncar Driver |
| Josh McLaglen | Buzz Mihoe |
| Randy Hall | Windbreakered Agent |
| T.C. Badalato | Fireman |
| Amine Zary | Tunisian |
| David Paris | Pilot |
| Vanessa Morley | Young Samantha Mulder (archive footage) |
| Jason Beghe | FBI Man at Bomb Site (uncredited) |
| Glenne Headly | Barmaid (uncredited) |
| Name | Job |
|---|---|
| Chris Carter | Story, Screenplay |
| Mark Snow | Original Music Composer, Conductor |
| Marlene Stewart | Costume Design |
| Frank Spotnitz | Story |
| Rick Kangrga | Dolly Grip |
| Khristian Lupo | Stunts |
| James Ryan | Stunts |
| Todd J. Adelman | Set Medic |
| Brian Bennett | Stunts |
| Mike Amorelli | Rigging Gaffer |
| Jim Martin | Production Illustrator |
| Ricky Cuevas | Assistant Accountant |
| Anna Bradley | Key Set Production Assistant |
| James Bolt | Additional Sound Re-Recording Mixer |
| Merritt Gold | Focus Puller |
| Jan Beran | Special Effects Technician |
| Tim Flattery | Concept Artist |
| Erik Liles | Senior Animator |
| Ward Russell | Director of Photography |
| Hugo Santiago | Art Direction |
| Jackie Carr | Set Decoration |
| Gregory Bolton | Art Direction |
| Christopher Nowak | Production Design |
| Bill Iiams | Construction Coordinator |
| Tim Donelan | Leadman |
| Dins Danielsen | Assistant Art Director |
| Lloyd Ahern II | Additional Photography |
| Susan Dawes | Dialogue Editor |
| James N. Delaplane | Standby Painter |
| Matthew A. Del Ruth | Camera Loader |
| Mark La Bonge | Camera Operator |
| Craig Heath | Sound Recordist |
| Robert Mendoza | Post Production Assistant |
| Harold Groshon | Electrician |
| Damian 'Rocky' Polito | Carpenter |
| Steve Duncan | Transportation Coordinator |
| Rodger Pardee | Sound |
| Pasquale Attanasio | Rigging Grip |
| Michael J. Burmeister | Location Manager |
| Mark Suveg | Video Assist Operator |
| Stephen Mark | Editor |
| Meg Liberman | Casting |
| Michael Gates | Painter |
| Fanée Aaron | Set Designer |
| Carrie L.A. | Location Scout |
| Brad Edmiston | First Assistant Camera |
| Doris Donnenberg | Production Supervisor |
| Jason Bell | Grip |
| Fred Fein | Stand In |
| Dina Farnell | Production Coordinator |
| Rachel Flackett | Set Production Assistant |
| Paul Urmson | Sound Designer |
| Howard Bachrach | Transportation Captain |
| Stevie Lazo | Production Accountant |
| Mark Steinbeck | Boom Operator |
| Mark Kenna | Dolby Consultant |
| Paul Apted | Sound Effects Editor |
| Jeff Charbonneau | Music Editor |
| Jonathan Sacks | Orchestrator |
| Phil Bowen | Aerial Camera Technician |
| Lance Anderson | Prosthetic Makeup Artist |
| Fred Simon | Visual Effects |
| Derek Hurd | Craft Service |
| Daphne Dentz | Visual Effects Coordinator |
| Jenna Abrahamson-Minardi | Lighting Technician |
| Tom Gleason | Assistant Camera |
| Jennifer Jaafar | Art Department Assistant |
| Patti McNulty | Art Department Coordinator |
| Marc Fisichella | Supervising Art Director |
| Tricia Ronten | Script Supervisor |
| David Was | Music Supervisor |
| Nancy Collini | Set Costumer |
| James Sweet | Key Grip |
| Blake R. Cornett | Assistant Sound Editor |
| Mike Carrillo | Property Master |
| Margaret Adachi | First Assistant Editor |
| Samuel H. Adams | Propmaker |
| Alex L. Worman | Unit Publicist |
| Paul J. Lombardi | Special Effects Coordinator |
| Carl Boles | Gaffer |
| Merrick Morton | Still Photographer |
| Kerry Mendenhall | Key Hair Stylist |
| Pamela Choules | Visual Effects Editor |
| Geoffrey Patterson | Sound Mixer |
| John Casey | Costume Supervisor |
| Perry Petrzilka | Production Manager |
| Mat Beck | Visual Effects Supervisor |
| Jennifer S. Deayton | Assistant Production Coordinator |
| David M. Wermus | Location Assistant |
| Michael Mills | Makeup Supervisor |
| Stephen Sobisky | Project Manager |
| Miyuki Takahashi | 2D Artist |
| Erik Henry | Additional Visual Effects |
| Jeff Cahn | Assistant Editor |
| Jill Hall | Set Dressing Buyer |
| Jerry Solomon | Chief Lighting Technician |
| William H. Burton Sr. | Second Unit Director |
| William H. Burton Jr. | Stunts |
| James M. Halty | Stunts |
| Shawn Kautz | Stunts |
| Craig Shugart | Stunts |
| Roger Wells | Stunts |
| Peter Koczera | Digital Effects Supervisor |
| Mark Ballentine | Best Boy Electric |
| John A. Larsen | Supervising Sound Editor |
| Gino Crognale | Key Makeup Artist |
| Stan Blackwell | Special Effects Supervisor |
| Ronnie Lombard | Set Dressing Artist |
| Dennis McNeill | Color Timer |
| Maxwell R. Johnson II | Transportation Co-Captain |
| Kenneth Au | Digital Compositors |
| Carrie Cashman | Foley Recordist |
| Kelly Richards Ralston | First Assistant Accountant |
| William O. Heaton | Technical Advisor |
| David Betancourt | Foley Mixer |
| Robb Bihun | Storyboard Artist |
| Timothy Falconer | Assistant Location Manager |
| Dave Casella | Production Assistant |
| Shaun M. McGovern | Second Assistant Accountant |
| Howard Fannon | Assistant Property Master |
| David Paris | Aerial Coordinator |
| Helen Monaghan | Key Costumer |
| Jim Cashman | Visual Effects Production Assistant |
| Chad C. Barrow | Best Boy Grip |
| Gary Burritt | Negative Cutter |
| Max E. Brehme | Swing |
| Christopher Leone | VFX Artist |
| Travis Baumann | Compositing Artist |
| Kendel McMurray | Stunts |
| Chris Blackwood | Stunts |
| Tommy J. Huff | Stunts |
| Jimmy Romano | Stunts |
| David Schultz | Stunts |
| Scott Hubbell | Stunts |
| Janet Tebrooke | Wardrobe Supervisor |
| Phil Booth | Third Assistant Director |
| Ramsey McDaniel | Title Designer |
| Scott D. Mattson | Special Effects Assistant |
| Patrick Rush | Additional Casting |
| Rich Sickler | Second Second Assistant Director |
| Jeff Hamon | ADR Mixer |
| John Nein | Production Secretary |
| Jamie Sewell | Clapper Loader |
| Diane Linn | ADR Recordist |
| Michael Cassidy | Second Assistant Camera |
| Linda Gregory | Accountant |
| Angela Terry | Casting Assistant |
| Julie Ann Moyeda | Payroll Accountant |
| Hal Burton | Stunts |
| Claudette James | Stunt Double |
| Thomas DuPont | Stunts |
| Robert Powell | Stunts |
| Colin Nicolson | Sound Mixer |
| Rob Bowman | Director |
| Don Poole | Driver |
| Alec Gillis | Makeup Effects |
| Tim A. Davison | Stunt Coordinator |
| David Womark | Unit Production Manager |
| Josh McLaglen | First Assistant Director |
| R.J. Kizer | ADR Supervisor |
| Renato De Cotiis | Additional Third Assistant Director |
| Susan A. Burig | Graphic Designer |
| Dawn Fintor | Foley Artist |
| Edwin Rivera | 2D Supervisor |
| Heather Burton | Stunt Double |
| Greg Strause | Digital Supervisor |
| Nancy Thurston | Stunts |
| Lisa Dempsey | Stunts |
| Jon H. Epstein | Stunt Double |
| Troy Robinson | Stunts |
| Troy Brown | Stunts |
| Bob Brown | Stunts |
| Gregory J. Barnett | Stunts |
| Steve M. Davison | Stunts |
| John C. Meier | Stunts |
| Billy D. Lucas | Stunts |
| Michael Runyard | Stunts |
| Dale Gibson | Stunts |
| Dane Farwell | Stunts |
| Steve Holladay | Stunts |
| Dennis Madalone | Stunts |
| Erik Rondell | Stunts |
| Matthew Ferro | Visual Effects Producer |
| Jimmy N. Roberts | Stunts |
| Name | Title |
|---|---|
| Daniel Sackheim | Producer |
| Lata Ryan | Executive Producer |
| Mary Astadourian | Associate Producer |
| Chris Carter | Producer |
| Frank Spotnitz | Co-Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 26 | 37 | 20 |
| 2024 | 5 | 30 | 39 | 18 |
| 2024 | 6 | 25 | 39 | 16 |
| 2024 | 7 | 27 | 55 | 14 |
| 2024 | 8 | 25 | 37 | 17 |
| 2024 | 9 | 21 | 28 | 16 |
| 2024 | 10 | 20 | 32 | 14 |
| 2024 | 11 | 21 | 37 | 14 |
| 2024 | 12 | 19 | 32 | 15 |
| 2025 | 1 | 23 | 43 | 17 |
| 2025 | 2 | 17 | 29 | 3 |
| 2025 | 3 | 7 | 22 | 2 |
| 2025 | 4 | 5 | 10 | 2 |
| 2025 | 5 | 4 | 11 | 3 |
| 2025 | 6 | 3 | 6 | 3 |
| 2025 | 7 | 2 | 4 | 2 |
| 2025 | 8 | 3 | 4 | 2 |
| 2025 | 9 | 5 | 6 | 3 |
| 2025 | 10 | 5 | 9 | 3 |
| 2025 | 11 | 4 | 5 | 3 |
| 2025 | 12 | 3 | 5 | 2 |
| 2026 | 1 | 3 | 4 | 2 |
| 2026 | 2 | 3 | 4 | 3 |
Trending Position
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 3 | 350 | 688 |
| Year | Month | High | Avg |
|---|---|---|---|
| 2025 | 1 | 717 | 717 |
**_The best of The X Files_** After an explosion reminiscent of the Oklahoma City bombing, FBI agents Mulder and Scully stumble on an otherworldly virus and an intricate governmental cover-up. Their investigation leads them all over the map and, ultimately, to Antarctica, with numerous mysterious ... happenings and shadowy meetings. Originally known simply as "The X Files" but later as "The X-Files: Fight the Future," this 1998 film is essentially an elongated episode of the TV series with a bigger budget. I've never been more than a casual viewer (seeing 10-12 of the top-rated episodes) and, to me, this film pretty much represents the best the series had to offer, except that I favor the MOTW episodes as opposed to the alien conspiracy ones. “Clyde Bruckman’s Final Repose” from season 3 is a good example. I just prefer the human interest and uniqueness of such episodes compared to the listless redundancy of the alien conspiracy segments. Everyone knows that creator Chris Carter was inspired by The Night Stalker TV Series/movies when he formulated the show. Whereas that brief 70s’ series was overt and almost cartoony with its depictions of the paranormal, The X Files always took a more subdued, realistic approach. To some, this made it boring; to others, fascinating; to me, a mixture of both. The way the plot in the movie unfolds is similar to "Indiana Jones and the Raiders of the Lost Ark," albeit grimmer and quasi-believable. Other than the paranormal, the appeal of The X Files has always been Gillian Anderson. What a uniquely beautiful redhead with her intelligent, cynical expressions. There are some glaring geographical problems, unfortunately. For instance, Dallas is located in east Texas, which is technically on the eastern side of the USA and looks it; it’s very green. There are no desert-like landscapes anywhere close. Producers obviously did this to save on costs, but why not have those particular sequences take place outside of El Paso in west Texas? Or how about nearby Santa Fe or Albuquerque, New Mexico? Furthermore, a car trip from Dallas to DC takes 20 hours, not a single night’s drive as shown; not to mention traveling from Dallas to the Mexican border takes over 9 hours, not a couple of hours. It runs 2 hours, 2 minutes (with the Theatrical Release running a minute or two shorter) and was shot in California, British Columbia, Texas, New Jersey, London and Washington DC. GRADE: B/B+