text:
SLAP tear
From Wikipedia, the free encyclopedia
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SLAP tear
Glenoid fossa of right side. (Glenoidal labrum labeled as "glenoid lig.")
Classification and external resources
Specialty
orthopedics
ICD-9-CM
840.7
[edit on Wikidata]
A SLAP tear or SLAP lesion is an injury to the glenoid labrum (fibrocartilaginous rim attached around the margin of the glenoid cavity). SLAP is an acronym for "superior labral tear from anterior to posterior".
Contents
[hide]
1 Symptoms
2 Anatomical mechanism
3 Diagnosis
3.1 Sub-types
4 Treatment
4.1 Procedure
5 Surgical rehabilitation
6 References
7 External links
Symptoms[edit]
Several symptoms are common but not specific:[1]
Dull, throbbing, ache in the joint which can be brought on by very strenuous exertion or simple household chores.
Difficulty sleeping due to shoulder discomfort. The SLAP lesion decreases the stability of the joint which, when combined with lying in bed, causes the shoulder to drop.
For an athlete involved in a throwing sport such as baseball, pain and a catching feeling are prevalent. Throwing athletes may also complain of a loss of strength or significant decreased velocity in throwing.
Any applied force overhead or pushing directly into the shoulder can result in impingement and catching sensations.
Anatomical mechanism[edit]
The shoulder joint is a "ball-and-socket" joint.[2] However, the 'socket' (the glenoid fossa of the scapula) is small, covering at most only a third of the 'ball' (the head of the humerus). It is deepened by a circumferential rim of fibrocartilage, the glenoidal labrum. Previously there was debate as to whether the labrum was fibrocartilaginous as opposed to hyaline cartilage found in the remainder of the glenoid fossa. Previously, it was considered a redundant, evolutionary remnant, but is now considered integral to shoulder stability. Most agree that the proximal tendon of the long head of the biceps brachii muscle becomes fibrocartilaginous prior to attaching to the superior aspect of the glenoid. The long head of the triceps brachii inserts inferiorly, similarly.[3] Together, all of those cartilaginous extensions are termed the 'glenoid labrum'.
A SLAP tear or lesion occurs when there is damage to the superior (uppermost) area of the labrum. These lesions have come into public awareness because of their frequency in athletes involved in overhead and throwing activities in turn relating to relatively recent description of labral injuries in throwing athletes,[4] and initial definitions of the 4 (major) SLAP sub-types,[5] all happening since the 1990s. The identification and treatment of these injuries continues to evolve.
Diagnosis[edit]
Sub-types[edit]
Although ten varieties of SLAP lesion have been described on MRI or MR arthrography[6] seven clinical types are generally described.[7]
Type I. Degenerative fraying of the superior portion of the labrum, with the labrum remaining firmly attached to the glenoid rim
Type II. Separation of the superior portion of the glenoid labrum and tendon of the biceps brachii muscle from the glenoid rim
Type III. Bucket-handle tears of the superior portion of the labrum without involvement of the biceps brachii (long head) attachment
Type IV. Bucket-handle tears of the superior portion of the labrum extending into the biceps tendon
Type V. Anteroinferior Bankart lesion that extends upward to include a separation of the biceps tendon
Type VI. Unstable radial flap tears associated with separation of the biceps anchor
Type VII. Anterior extension of the SLAP lesion beneath the middle glenohumeral ligament
Treatment[edit]
There is evidence in literature to support both surgical and non-surgical forms of treatment.[8] In some, physical therapy can strengthen the supporting muscles in the shoulder joint to the point of reestablishing stability.[citation needed]
Surgical treatment of SLAP tears has become more common in recent years. The success rate for repairing isolated SLAP tears is reported between 74-94%.[8] While surgery can be performed as a traditional open procedure, an arthroscopic technique[9] is currently favored being less intrusive with low chance of iatrogenic infection.[10]
SLAP Tear
Repair of SLAP Tear

Repair of SLAP tear
Associated findings within the shoulder joint are varied, may not be predictable and include:
SLAP lesion – labrum/glenoid separation at the tendon of the biceps muscle
Bankart lesion – labrum/glenoid separation at the inferior glenohumeral ligament
Biceps Tendon - exclusion of pulley injury[11]
Bone – glenoid, humerus — injury or degenerative change involving joint surface
Anatomical variants — sublabral foramen, Buford Complex
Although good outcomes with SLAP repair over the age of 40 are reported, both age greater than 40 and Workmen's Compensation status have been noted as independent predictors of surgical complications. This is particularly so if there is an associated rotator cuff injury. In such circumstances, it is suggested that labral debridement and biceps tenotomy is preferred.[12]
SLAP (Superior Labral Tear, Anterior to Posterior)
Type 1
Fraying of Superior Labrum
Biceps Anchor Intact
Type 2
Superior Labrum detached
Detachment of the Biceps Anchor
Type 3
Bucket Handle type tear of Superior Labrum
Biceps Anchor INTACT
Type 4
Bucket Handle tear of Superior Labrum
Extension of tear in Biceps Tendon
Part of Biceps Anchor still INTACT
Procedure[edit]
Arthroscopic SLAP Lesion (type 2) repair
Following inspection and determination of the extent of injury, the basic labrum repair is as follows.
The glenoid and labrum are roughened to increase contact surface area and promote re-growth.
Locations for the bone anchors are selected based on number and severity of tear. A severe tear involving both SLAP and Bankart lesions may require seven anchors. Simple tears may only require one.
The glenoid is drilled for the anchor implantation.
Anchors are inserted in the glenoid.
The suture component of the implant is tied through the labrum and knotted such that the labrum is in tight contact with the glenoid surface.
Surgical rehabilitation[edit]
Surgical rehabilitation is vital, progressive and supervised. The first phase focusses on early motion and usually occupies post-surgical weeks one through three. Passive range of motion is restored in the shoulder, elbow, forearm, and wrist joints. However, while manual resistance exercises for scapular protraction, elbow extension, and pronation and supination are encouraged, elbow flexion resistance is avoided because of the biceps contraction that it generates and the need to protect the labral repair for at least six weeks. A sling may be worn, as needed, for comfort. Phase 2, occupying weeks 4 through 6, involves progression of strength and range of motion, attempting to achieve progressive abduction and external rotation in the shoulder joint. Phase 3, usually weeks 6 through 10, permits elbow flexion resistive exercises, now allowing the biceps to come into play on the assumption that the labrum will have healed sufficiently to avoid injury. Thereafter, isokinetic exercises may be commenced from weeks 10 through 12 to 16, for advanced strengthening leading to return to full activity based on post surgical evaluation, strength, and functional range of motion. The periods of isokinetics through final clearance are sometimes referred to as phases four and five.[13]
References[edit]
Jump up ^ Chang D, Mohana-Borges A, Borso M, Chung CB (Oct 2008). "SLAP lesions: anatomy, clinical presentation, MR imaging diagnosis and characterization". Eur J Radiol. 68 (1): 72–87. doi:10.1016/j.ejrad.2008.02.026. PMID 18499376.
Jump up ^ Werner, C; Steinmann (July 1, 2005). "Treatment of Painful Pseudoparesis Due to Irreparable Rotator Cuff Dysfunction with the Delta III Reverse-Ball-and-Socket Total Shoulder Prosthesis". The Journal of Bone and Joint Surgery. 87 (7): 1476. doi:10.2106/JBJS.D.02342. Retrieved 11 May 2014.
Jump up ^ Huber, WP; Putz, RV (December 1997). "Periarticular fiber system of the shoulder joint". Arthroscopy. 13 (6): 680–91. doi:10.1016/s0749-8063(97)90001-3. PMID 9442320.
Jump up ^ Andrews, JR; Carson WG, Jr; McLeod, WD (Sep–Oct 1985). "Glenoid labrum tears related to the long head of the biceps". The American journal of sports medicine. 13 (5): 337–41. doi:10.1177/036354658501300508. PMID 4051091.
Jump up ^ Snyder, SJ; Karzel, RP; Del Pizzo, W; Ferkel, RD; Friedman, MJ (1990). "SLAP lesions of the shoulder". Arthroscopy. 6 (4): 274–9. doi:10.1016/0749-8063(90)90056-j. PMID 2264894.
Jump up ^ Mohana-Borges AV, Chung CB, Resnick D (December 2003). "Superior labral anteroposterior tear: classification and diagnosis on MRI and MR arthrography". AJR Am J Roentgenol. 181 (6): 1449–62. doi:10.2214/ajr.181.6.1811449. PMID 14627555.
Jump up ^ Aydin N, Sirin E, Arya A (Jul 18, 2014). "Superior labrum anterior to posterior lesions of the shoulder: Diagnosis and arthroscopic management". World J Orthop. 5 (3): 344–50. doi:10.5312/wjo.v5.i3.344. PMC 4095028  . PMID 25035838.
^ Jump up to: a b Patterson BM, Creighton RA, Spang JT, Roberson JR, Kamath GV (Jun 2, 2014). "Surgical Trends in the Treatment of Superior Labrum Anterior and Posterior Lesions of the Shoulder: Analysis of Data From the American Board of Orthopaedic Surgery Certification Examination Database". Am J Sports Med. 42 (8): 1904–10. doi:10.1177/0363546514534939. PMID 24890780.
Jump up ^ Huri G, Hyun YS, Garbis NG, McFarland EG (2014). "Treatment of superior labrum anterior posterior lesions: a literature review". Acta Orthop Traumatol Turc. 48 (3): 290–7. doi:10.3944/AOTT.2014.3169. PMID 24901919.
Jump up ^ Babcock HM, Matava MJ, Fraser V (Jan 1, 2002). "Postarthroscopy surgical site infections: review of the literature". Clin Infect Dis. 34 (1): 65–71. doi:10.1086/324627. PMID 11731947.
Jump up ^ Patzer T, Kircher J, Lichtenberg S, Sauter M, Magosch P, Habermeyer P (May 2011). "Is there an association between SLAP lesions and biceps pulley lesions?". Arthroscopy. 27 (5): 611–8. doi:10.1016/j.arthro.2011.01.005. PMID 21663718.
Jump up ^ Erickson J, Lavery K, Monica J, Gatt C, Dhawan A (Jun 24, 2014). "Surgical Treatment of Symptomatic Superior Labrum Anterior-Posterior Tears in Patients Older Than 40 Years: A Systematic Review". Am J Sports Med. 43: 1274–82. doi:10.1177/0363546514536874. PMID 24961444.
Jump up ^ Ellenbecker TS, Sueyoshi T, Winters M, Zeman D (May 2008). "Descriptive report of shoulder range of motion and rotational strength six and 12 weeks following arthroscopic superior labral repair". N Am J Sports Phys Ther. 3 (2): 95–106. PMC 2953319  . PMID 21509132.
External links[edit]
Wikimedia Commons has media related to SLAP lesion.
slaptear.com FAQs, Blogs, and discussion about slap tear injuries
Radiographics search on Superior Labrum
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Army Combat Uniform
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Army Combat Uniform
A U.S. soldier wearing the Army Combat Uniform (ACU) in the Operational Camouflage Pattern (OCP).
Type
Battledress
Place of origin
United States of America
Service history
In service
2015–present (ACU-OCP)
2004–present (ACU-UCP, to be discontinued in 2019)
Used by
United States Army
U.S. Air Force[1][2]
U.S. Navy (Individual Augmentees)
Wars
War in Afghanistan
Iraq War
Production history
Designed
2004 (UCP ACU), 2009 (MultiCam ACU), 2014 (OCP ACU)
Variants
See Variants
U.S. Army soldiers in May 2011, wearing the ACU in the Universal Camouflage Pattern, along with its replacement MultiCam pattern (second from left) in Paktika province, Afghanistan.
The Army Combat Uniform, also known in the Air Force as the Airman Combat Uniform (ACU) and its flame-retardant variant, the Flame-Resistant Army Combat Uniform (FRACU), are the current battle uniforms worn by the United States Army.[2]
First unveiled in June 2004, it is the successor to the Battle Dress Uniform (BDU) and Desert Camouflage Uniform (DCU) worn from the 1980s and 1990s through the early 2000s, respectively.[3] The ACU and its component materials are manufactured by the existing industrial infrastructure which produced the now-obsolete BDU. Official military-grade ACUs are made of 50% nylon and 50% cotton. All other blends are not official issue.[4]
Contents
[hide]
1 History
1.1 Development
1.2 Initial fielding
1.3 Universal Camouflage Pattern (UCP)
1.4 Operation Enduring Freedom Camouflage Pattern (MultiCam)
1.5 Operational Camouflage Pattern (OCP)
2 Components
2.1 Jacket
2.2 Trousers
2.3 Headgear
2.4 T-shirt
2.5 Footwear
3 See also
4 References
5 Further reading
6 External links
History[edit]
Development[edit]
In early 2004, some U.S. Army soldiers in Iraq were issued the "Close Combat Uniform" a variant of the Desert Camouflage Uniform (DCU) that featured new innovations such as shoulder pockets affixed with hook-and-loop "Velcro" fasteners, chest-worn rank insignia, and a new collar. The experimental features used on the CCU were eventually incorporated into the ACU,[5] which was publicly announced in June 2004.[6]
Initial fielding[edit]
The process of replacing the U.S. Army's woodland pattern BDU and DCU with the ACU was to begin in April 2005. However, the fielding process began two months earlier through the Rapid Fielding Initiative.
Soldiers from the 48th Infantry Brigade Combat Team were the first U.S. Army unit to receive the ACU, subsequently deploying the entire Brigade into OIF combat in May 2005. Initial reception of the ACU was mixed, with complaints of insufficient durability and excessive maintenance.[7]
The ACU’s infrared tab, closed (left), and opened (right).
Universal Camouflage Pattern (UCP)[edit]
Main article: Universal Camouflage Pattern
The ACU of a U.S. Navy sailor attached to a U.S. Army unit during the Iraq War, August 2009.
The ACU originally used the Universal Camouflage Pattern (UCP), which used a pixelated pattern of tan, gray and green (Desert Sand 500, Urban Gray 501 and Foliage Green 502) and was intended to work equally well in desert, woodland, and urban environments.[8] It is aesthetically similar to the USMC's MARPAT and Canadian CADPAT camouflage scheme. The shade black was omitted from the uniform since it is highly visible both to the naked eye and to modern optics.[9] Pure black, when viewed through night vision devices, appears excessively dark and creates an undesirable high-contrast image. The pattern proved to be ineffective in certain environments, and is scheduled to be fully phased out of the Army by 30 September 2019.[10]
Operation Enduring Freedom Camouflage Pattern (MultiCam)[edit]
Main article: MultiCam
Beginning in late 2010 U.S. Army soldiers deployed to Afghanistan (starting with the 173rd Airborne Brigade) were issued an Army-developed variant of the Crye Precision "MultiCam" pattern, which was far more effective in Afghanistan's terrain.[11] These flame-retardant uniforms are designed to prevent third-degree burns, along with up to thirty percent of second degree burns. Additionally, the uniforms are treated with the chemical permethrin to help protect soldiers from insect-borne diseases like malaria. Some U.S. Army soldiers during the latter stages of the Iraq War also wore the ACU in MultiCam; some were seen wearing them as late as December 2011, when the United States withdrew its military forces from the country at the end of the war. This particular version has been replaced by the newer ACU in the Operational Camouflage Pattern.
Operational Camouflage Pattern (OCP)[edit]
Main article: Operational Camouflage Pattern
In May 2014, the Army unofficially announced that the Operational Camouflage Pattern (OCP) would replace UCP on the ACU. The original "Scorpion" pattern was developed at United States Army Soldier Systems Center by Crye Precision in 2002 for the Objective Force Warrior program. Crye later modified and trademarked their version of the pattern as MultiCam, which was selected for use by U.S. soldiers in Afghanistan in 2010. After talks to officially adopt MultiCam broke down over costs in late 2013, the Army began experimenting with the original Scorpion pattern, creating a variant code named "Scorpion W2", noting that while a pattern can be copyrighted, a color palette cannot and that beyond 50 meters the actual pattern is "not that relevant." The pattern resembles MultiCam with muted greens, light beige, and dark brown colors, but uses fewer beige and brown patches and no vertical twig and branch elements.[12] On 31 July 2014, the Army formally announced that the pattern would begin being issued in uniforms in summer 2015. The official name is intended to emphasize its use beyond Afghanistan to all combatant commands.[13] The UCP pattern is planned to be fully replaced by the OCP on the ACU by 1 October 2019.[14] ACUs printed in OCP first became available for purchase on 1 July 2015, with deployed soldiers already being issued uniforms and equipment in the new pattern.[15]
Components[edit]
A U.S. Army soldier in June 2005 wearing the ACU in UCP with matching IBA vest and ACH helmet.
A U.S. Army soldier in Kunar province, Afghanistan, during Operation Saray in April 2006.
U.S. Army soldiers from the 2nd Infantry Division, patrol the streets of Baghdad, Iraq during the Iraq War in August 2006, while wearing the ACU and Interceptor body armor.
The ACU features hook-and-loop fasteners, also known by the genericized trademark Velcro, on its sleeve pockets.
Jacket[edit]
The ACU jacket originally used hook-and-loop-backed attachments to secure items such as name tapes, rank insignia, and shoulder patches and tabs, as well as recognition devices such as the U.S. flag patch and the infrared (IR) tab. Originally only pin-on skill badges were authorized for wear on the ACU, with no more than 5 at any one time.
In the summer of 2011, regulations were changed to allow for wearing of sew-on embroidered skill badges like the ones worn on the older BDUs. The 5-badge limit remained in effect, and there could be no mixing of sew-on and pin-on badges. At the same time, the US Army tape, personal nametapes, and rank insignia could be sewn-on at the wearers preference.[16] Skill tabs, such as the President's Hundred Tab, Special Forces, Ranger, and Sapper are worn on the left sleeve pocket flap, and are subject to a 3-tab-only rule.[17] A tab that is an integral part of a unit patch, such as the "Mountain" or "Airborne" tab, is not counted against the rule. The U.S. Army Chaplain insignia is the only authorized army branch insignia to be worn on the ACU. It is centered 1/8 inch above the right name tape. The insignia may be the metal pin-on variety or the black embroidered insignia on digitized fabric with Velcro fasteners.[18]
Near Infrared (NIR) Signature Management Technology is incorporated to minimize the infrared silhouette. Permanent IR IFF squares are sewn to each shoulder to help identify friendly personnel when night vision devices are used, and are protected by Velcro tabs in garrison or when not in use.
Three U.S. flag insignia are authorized for wear with the ACU: full-color, full-color IR, and subdued IR. The U.S. flag insignia (full-color or subdued) is worn on the right shoulder pocket flap of the ACU coat. The subdued version is only worn as directed under tactical or field conditions.[19] On the right shoulder of the ACU, the U.S. flag is depicted with the union (stars) to the viewer's right, instead of the usual left (flag's own right); this is to give the impression of the flag moving forward with the wearer. Subdued shoulder sleeve insignia are always worn.
The jacket's Mandarin collar was intended to be worn up in combat to fit with the Improved Outer Tactical Vest (IOTV) body armor, and worn in the down position otherwise. With the change of pattern to OCP, the Velcro tab that closed the Mandarin collar was removed, along with other Velcro closures.[20]
The front closure is zippered and reinforced with Velcro, designed for use with OTV. The tilted chest pockets, cuffs, and elbow pad insert pockets also utilize hook-and-loop closure. There is a three slot pen pocket on the left arm of the jacket, and blouse bellows for increased mobility. The jacket is worn so that it bottom is between the bottom of the pocket and the top of the cargo pocket.
In the field, the jacket may be replaced by the flame resistant Army Combat Shirt when worn directly under the IOTV.[21]
Trousers[edit]
The ACU trousers (or ACU pants) are worn with a two-inch nylon web belt, and feature Velcro pouches for knee pad inserts, two forward-tilted thigh storage pockets with elastic drawstring and Velcro for closure during movement, and two calf storage pockets one on each pant leg with a Velcro closure. ACU trousers with flame resistant materials are being issued for use in Iraq and Afghanistan.[21]
The updates to the ACU trousers in late 2010 included removal of Velcro fasteners from forward-tilted thigh cargo pocket flaps which were replaced with 3 buttons. This change was introduced gradually from 2009 onward and is now in full effect. Two buttons are standard (same function as on BDU trouser cargo pockets), while the third button located at the very end of the pocket can be used to allow for more load and extra volume in cargo pockets. On the small calf pockets the 3-piece Velcro (2 square hook on pocket and one rectangular loop patch on the flap) have been replaced with a single button in 2012. Buttons were re-introduced and replaced Velcro on pockets after numerous complaints from soldiers in the field.
The belt loops are of new design, much wider (double width) and there is 8 of them now compared to 7 in the past. The waist adjustment cord has been removed and replaced by the Velcro waistband fine-adjusters, one at each hip. Instead of a knee pocket which could only accommodate soft knee inserts in the past, the knee area now features multi-layered comprehensive design which allows external hard-type knee pads to be inserted and secured. Back of the knee area has Velcro hook and loop patches to further secure knee inserts around the knee area. Cuffs at the bottom of the trousers do not use drawstrings anymore for blousing; those have been again replaced by the Velcro cuff adjusters. Further changes as part of the transition to OCP removed the pockets for insertable knee pads altogether, along with the replacement of more Velcro with buttons.[20]
To be able to differentiate the FRACU from ACU at a distance, a small square inch tan patch is affixed to the left sleeve cuff on the jacket and the middle of the left cargo pocket flap on the trousers.
Headgear[edit]
A U.S. Army soldier in March 2007, wears a helmet with a UCP camouflage cover during the Iraq War.
Typically, the ACU is worn with the Advanced Combat Helmet, a patrol cap, or a boonie hat and/or fleece cap as appropriate in winter months. The patrol cap is a kepi-styled straight-sided, flat-topped soft cap, with a double thick bill and internal pocket. When in garrison, the maroon, tan, and green berets may be worn by paratroopers, Army Rangers, and Army Special Forces respectively. The green micro fleece cap is authorized for field and garrison use outside of unit PT, per local command.[22] A name tape is worn on the back of the patrol cap. Sew-on rank is recommended but pin-on rank is authorized on the ACU Patrol Cap and ACU Boonie Hat. The MICH (Modular Integrated Communications Helmet) Camouflage cover rank must be sewn on if worn but is often not used as the night vision device mount would obstruct it.
T-shirt[edit]
The ACU is worn with a moisture-wicking sand colored T-shirt.[23] A coyote brown T-shirt is authorized with ACU-OCPs, and will become the sole authorized T-shirt upon completion of the full transition to OCP in 2019.[20]
Footwear[edit]
The ACU is worn with tan Army Combat Boots and olive drab cotton socks. Commercial versions of this boot are authorized without limitation, complying with the following regulations—must be 8 to 10 inches in height, be made of tan rough side out cattle hide leather with a plain toe and tan rubber outsoles, and be without zippers, metal cleats, or side tabs.[24] The Mountain Combat Boot is available for difficult terrain, and the Extreme Cold Vapor Barrier Boots for cold weather. As with the T-shirt, coyote brown boots are authorized with OCP and will become the sole boot authorized following the completion of the transition in 2019.[20]
See also[edit]
United States Army portal
Airman Battle Uniform
Marine Corps Combat Utility Uniform
Navy Working Uniform
List of camouflage patterns
Uniforms of the United States Army
U.S. Army Service Uniform
References[edit]
Jump up ^ "Airmen go hand-to-hand with Afghan National Police".
^ Jump up to: a b "USAFCENTI-36-2903-28-28-Aug-17.pdf".
Jump up ^ "ALARACT 078/2005".
Jump up ^ "USA Contracts for New Army Combat Uniforms, New Camo".
Jump up ^ Larson, Eric H. (2009). "HISTORY AND DEVELOPMENT OF THE US ARMY CLOSE COMBAT UNIFORM (CCU/CU)" (PDF). Camopedia.
Jump up ^ Triggs, Marcia (15 June 2004). "Army unveils new combat uniform, replace Battle Dress Uniform (BDU)". United States Army Public Affairs. United States Department of the Army. Archived from the original on 18 June 2004. Retrieved 18 June 2004.
Jump up ^ Hirschman, Dave (17 July 2005). "Some Georgia Troops Blister Tattered Desert Uniforms". Atlanta Journal Constitution. Archived from the original on 20 July 2005. Retrieved 16 January 2016.
Jump up ^ "Advanced Combat Uniform (ACU)" (PDF). October 2010. Archived from the original (PDF) on 27 September 2011. Retrieved 19 January 2011.
Jump up ^ "Camouflaging Yourself AND Equipment". Kit Up!. 2009-12-02. Retrieved 2016-10-07.
Jump up ^ "Army ACU Replacement Fielding Plan Overview" (PDF).
Jump up ^ Lopez, C. (20 February 2010). "Soldiers to get new cammo pattern for wear in Afghanistan". US Army. US Army. Retrieved 22 February 2010.
Jump up ^ Army selects new camo pattern - Armytimes.com, 23 May 2014
Jump up ^ Army announces rollout date for new camo - Armytimes.com, 31 July 2014
Jump up ^ Army Unveils Design Changes for New Camo Uniform - Military.com, 6 August 2014
Jump up ^ Soldiers Line Up to Buy New Camouflage Uniforms - Kitup.Military.com, 8 July 2015
Jump up ^ Army Combat Uniform Ensemble, paragraph 5L.
Jump up ^ Paragraph 5S.
Jump up ^ Army Combat Uniform (ACU) ALARACT Message 007/2006
Jump up ^ "ALARACT 164/2006" (PDF).
^ Jump up to: a b c d Army Combat Uniform Summary of Changes Accessed 14 May 2017
^ Jump up to: a b "PEO Soldier to Unveil New Army Combat Shirt".
Jump up ^ "Fleece/Knit Cap Authorization for the ACU" (PDF).
Jump up ^ https://web.archive.org/web/20161226175910/http://www.armyg1.army.mil/hr/Foliage%20Green%20t-shirt%20ALARACT%20message.doc. Archived from the original on 26 December 2016. Retrieved 19 April 2008. Missing or empty |title= (help)
Jump up ^ "FROM" (PDF).
Further reading[edit]
Army testing combat boots, camouflage patterns
External links[edit]
Wikimedia Commons has media related to Army Combat Uniform.
Program Executive Office (PEO) Soldier
PEO Soldier- Army Combat Uniform Factsheet
PEO Soldier- Army Combat Uniform FAQ
GlobalSecurity.org page on ACU (with pictures)
ACU Brief (ArmyStudyGuide.com) – details of proper wear and care of the ACU
Army page on ACU
48th Brigade Combat Team – First Field Reports on ACU
[1] Soldiers to test new Army Combat pants Army Times
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The X-Files: I Want to Believe
From Wikipedia, the free encyclopedia
Jump to: navigation, search
The X-Files: I Want to Believe
Theatrical release poster
Directed by
Chris Carter
Produced by
Chris Carter
Frank Spotnitz
Written by
Chris Carter
Frank Spotnitz
Based on
The X-Files
by Chris Carter
Starring
David Duchovny
Gillian Anderson
Amanda Peet
Billy Connolly
Alvin "Xzibit" Joiner
Mitch Pileggi
Music by
Mark Snow
Cinematography
Bill Roe
Edited by
Richard A. Harris
Production
companies
Crying Box Productions
Dune Entertainment III
Ten Thirteen Productions
Distributed by
20th Century Fox
Release date
July 25, 2008 (2008-07-25)
Running time
104 minutes[1]
Country
United States
Language
English
Budget
$30 million[2][3]
Box office
$68.4 million[3]
The X-Files: I Want to Believe is a 2008 American supernatural thriller film directed by Chris Carter and written by both Carter and Frank Spotnitz. It is the second feature film installment of The X-Files franchise created by Carter, following the 1998 film. Three main actors from the television series, David Duchovny, Gillian Anderson, and Mitch Pileggi, reappear in the film to reprise their respective roles as Fox Mulder, Dana Scully, and Walter Skinner.
Unlike the first film, the plot does not focus on the series' ongoing extraterrestrial based mytharc themes, but instead works as a standalone thriller horror story, similar to many of the monster-of-the-week episodes that were frequently seen in the TV series. The story follows Mulder and Scully who have been out of the FBI for several years, with Mulder living in isolation as a fugitive from the organization and Scully having become a doctor at a Catholic-run hospital, where she has formed a friendly relationship with a seriously ill patient. When an FBI agent is mysteriously kidnapped, and a former priest who has been convicted of being a child molester claims to be experiencing psychic visions of the endangered agent, Mulder and Scully reluctantly accept the FBI's request for their particular paranormal expertise on the case.
The film was first anticipated in November 2001 to follow the conclusion of the ninth season of the television series, but it remained in development hell for six years before entering production in December 2007 in Vancouver, British Columbia, Canada. The film premiered on July 23, 2008, at Grauman's Chinese Theatre in Hollywood before opening theatrically two days later on July 25. Since its release, the film has received mixed reviews from critics.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Development
3.2 Filming
3.3 Title
3.4 Music
4 Marketing
4.1 Novel
5 Release
5.1 Box office
5.2 Home media
5.3 Reception
6 Sequel
7 See also
8 References
9 External links
Plot[edit]
Dana Scully, a former FBI agent, is now a staff physician at a Catholic hospital; she is treating Christian, a young boy with symptoms similar to Sandhoff disease. FBI agent Mosely Drummy approaches Scully for help in locating her former partner, Fox Mulder, who has been in hiding as a fugitive for several years. Drummy states that the FBI will call off its manhunt for Mulder if he helps investigate the disappearances of several women in West Virginia, the latest of whom is a young FBI agent named Monica Bannan. Scully agrees and convinces a reluctant Mulder to help.
The duo are taken to Washington, D.C., where Agent Dakota Whitney requests Mulder's expertise with the paranormal as they have been led to a clue, a severed human arm, by Father Joseph Fitzpatrick Crissman. He is a former priest defrocked for the molestation of thirty-seven altar boys, and claims God is sending him visions of the crimes. A second woman, driving home after swimming in a natatorium, is run off the road by a truck driven by Janke Dacyshyn, who then abducts her. Father Joe is again recruited for help with the second abducted woman. After a grueling nighttime search in a snow-covered field, he leads the FBI to what turns out to be a frozen burial ground of people and body parts. Analysis of the remains, along with tracking down the recent movements from the second abducted woman's car crash, eventually leads them to Dacyshyn, an organ transporter in Richmond, Virginia, and his husband, Franz Tomczeszyn, who was among the youths Father Joe sexually abused.
During an FBI raid on the organ donor facility where Dacyshyn works, he ends up escaping, leaving Bannan's severed head at the scene. Mulder, who accompanied Whitney on the raid, chases Dacyshyn to a building construction site. Whitney follows, and is killed when Dacyshyn pushes her down an elevator shaft. Scully, seeking a resolution, asks Joe, who has not yet heard of the discovery of Bannan's head, if he senses that she is still alive. He replies that she is. Discouraged but still determined, Mulder decides to investigate the incidents further. He starts by driving Scully's car to Nutter's Feed Store in a small town near the abductions, as the human remains contain acepromazine, an animal tranquilizer. When Dacyshyn coincidentally arrives moments later, Mulder slips out and follows him. Dacyshyn notices him, however, and runs his car off the road. Mulder survives and manages to tail Dacyshyn, who exits his truck after the engine fails, to a small compound in a former barn. Mulder enters, and the commotion caused by a two-headed guard dog brings Dacyshyn out from one of the buildings. The compound is being used by an east-European medical team that has been murdering people and stealing their organs for years. The field where Father Joe had earlier discovered the bodies turned out to be their dumping ground. Mulder enters the building to find that the team has been using the organs and body parts in an attempt to keep Tomczeszyn alive. At that moment, they attempt to place Tomczeszyn's head on the body of the second abducted woman. Mulder tries to save her from the gruesome fate, but a doctor comes from behind and injects him with a tranquilizer. Helpless, Mulder is taken outside to be murdered by Dacyshyn.
Scully, unable to reach Mulder on his cell phone, contacts her old FBI superior, Walter Skinner, for help. They triangulate the phone's location and find Scully's wrecked car, eventually making their way through the snow to find the compound as Mulder is about to be axed by Dacyshyn. Scully attacks him in an ensuing confrontation, incapacitating him, while Skinner breaks up the medical procedure before the young woman is beheaded. Later, Mulder is at home when Scully tells him Father Joe has died. It happened at the same moment, Mulder notes, that Scully disconnected the life support to Tomczeszyn's severed head. Somehow, he surmises, the two men's fates were linked by more than just visions.
Cast[edit]
Supporting actress Amanda Peet who portrayed FBI agent Dakota Whitney.
David Duchovny as Fox Mulder
Gillian Anderson as Dr. Dana Scully
Amanda Peet as Special Agent in Charge Dakota Whitney
Billy Connolly as Joseph "Father Joe" Crissman
Alvin "Xzibit" Joiner as Special Agent Mosley Drummy
Mitch Pileggi as Assistant Director Walter Skinner
Callum Keith Rennie as Janke Dacyshyn
Adam Godley as Father Ybarra
Xantha Radley as Special Agent Monica Bannan
Fagin Woodcock as Franz Tomczeszyn
Nicki Aycox as Cheryl Cunningham
Alex Diakun as Gaunt Man
Production[edit]
Development[edit]
In November 2001, the creators of the TV series The X-Files decided to pursue a second feature film adaptation of the series, following the 1998 film. Carter was expected to collaborate with Spotnitz, who had co-written the first film, on a script for the follow-up. Production of the film was slated to begin after the completion of the ninth season of the TV series, with a projected release in December 2003.[4] In April 2002, Carter reiterated his desire and the studio's desire to do a sequel film. He planned to write the script over that summer and begin production in the spring or summer of 2003 for a 2004 release.[5] Carter described the film saying, "We're looking at the movies as stand-alones. They're not necessarily going to have to deal with the mythology."[6] Director Rob Bowman, who had directed episodes of The X-Files in the past as well as the 1998 film, expressed an interest in filming the sequel in July 2002.[7]
In April 2004, Duchovny said he was waiting for the film's production to begin, explaining that Carter had signed off on the premise. Duchovny said of the delay, "So now it's just a matter of making sure everybody can get together at the same time and do it."[8] The following November, Carter revealed that the project was in the negotiation stage, explaining, "Because it's a sequel, there are peculiar and specific kinds of negotiations that are holding us up."[9] Duchovny spoke of the premise for the yet-produced film in 2005, "Mulder and Scully investigate one particular case that has nothing to do with alien life. It has to do with supernatural stuff."[10] He also explained, "I think we're going back to the 'monster of the week' type feel, where if you're not an avid fan and don't understand the mythology, you can still come to it and get the movie." Duchovny and Carter planned to begin production in the winter of 2005 to be released in the summer of 2006.[11] The following April, Duchovny admitted to a lack of a script, adding that Carter would have it ready by early next year.[12]
In May 2006, Spotnitz blamed the continued delay on legal matters between Carter and 20th Century Fox. The screenwriter anticipated, "Once the legal issues are over with, we will go on with it. I'm hoping it will get resolved soon." By April 2007, Spotnitz confirmed that a script was finally in development.[13] The following October, the studio officially announced the production of the sequel film, whose premise would be kept under wraps.[14]
Filming[edit]
Principal photography took place in Vancouver and Pemberton, in British Columbia, Canada. According to Spotnitz, the script was written specifically for these locations.[15] Filming began in December 2007 in Vancouver under the direction of Carter,[16] and shooting finished on March 11, 2008.[15][17] In a teaser trailer shown at Wondercon on February 23, 2008, the date "July 25, 2008" appeared at the end, and was the only text in the trailer. On March 27, 2008, the horror film site Bloody Disgusting reported a bootleg video of the official trailer uploaded by a user on YouTube.[18] The first public trailer was released after midnight on May 12, 2008, after a period of downtime on the official website.
The decision to shoot in Vancouver, where the first five years of The X-Files had been filmed and produced before the series had moved to Los Angeles, was an early idea; one that seemed right to both Chris Carter and David Duchovny. According to Duchovny, "It all makes sense. You know, when Chris and I first talked about doing this movie, we kind of unconsciously both said, 'You know, I guess it should be in Vancouver, it really should be,' and it just felt like you know, almost superstitiously like the right thing to do." Filming in Vancouver also facilitated the return of many former crew members who had previously worked on The X-Files, as well as individuals who had worked on the other series that Ten Thirteen Productions had created. Frank Spotnitz said that "In terms of making of the movie, we've brought together as many people as we can, not just from The X-Files but from all the shows that we did here in Vancouver – Harsh Realm, Millennium and The Lone Gunmen – and our crew is populated with all these faces that we'd worked with, over the past fifteen years. And there's even some people from the L.A. crew."[19]
A haybale field in Pemberton; like the location used for filming the scene involving the second abduction of FBI agent Cunningham.
The exterior of Monica Bannan's house was actually filmed in Pemberton, British Columbia, Canada, a location that Spotnitz found to be beautiful but extremely cold. Although the location is shown in exterior shots incorporated into the scene in which Fox Mulder (Duchovny), Whitney (Amanda Peet), Drummy (Alvin "Xzibit" Joiner), and Father Joe (Billy Connolly) drove to the missing agent's home, the same scene also includes footage of the actors that was filmed on a stage, using a rear projection to show the exterior from inside the car. The latter method was used for all the shots in which any of the travelers appear.[19]
Several of the other locations were filmed in and around Pemberton Valley. Key scenes were also filmed in Riverlands.[20][21] The interior of Scully's home was a set in Burnaby, outside of Vancouver. The set was an old roller rink or at least sounded like one, as it was very noisy. During filming, Carter placed a carrot juice bottle on the table of the set, having just finished the drink, as he thought it would be "a nice sort of Mulder touch." Some of the artwork in Mulder's office came from a friend of Carter's who had a gallery in Vancouver and was named Monica Reyes, a name that had previously been used in her honor for a character who features in a recurring role in the series' eighth season and appears as a main character in every episode of the series' ninth season. One of the pictures on the wall of Mulder's office was by Douglas Coupland, who was featured in the real Monica Reyes' gallery and had written a book Carter liked which was called Hey Nostradamus!, so Carter stuck a Post-It on which he wrote the book's title onto the picture.[19]
The exterior of the dorms for habitual sex offenders where Father Joe lives was actually an apartment complex in Vancouver that was slated for demolition while the production crew were filming there. Snow that can be seen outside the dorms was actually fake snow that was imported by the crew and fabricated by the film's Special Effects Department. Bill Roe and Mark Freeborn worked together to create a creepy green glow on the location using green lights. The production crew also created their own factory smoke for chimneys in the background, as Carter came to the opinion that the smoking chimneys made the location look like London. The interior of Joe's apartment was another set and was exactly like the real apartment except that it was slightly bigger. A trans-light was incorporated into the set to resemble daylight visible through a window of the apartment. The set also had a porch that was used for some shots in the scene where Mulder and Scully were outside the apartment.[19] Additional filming was done in Coquitlam, another Vancouver suburb, at Riverview Hospital's Unit 8 building.
Title[edit]
The code name Done One was used as the film's working title during filming, with location signs labeled as "Done One Productions."[15] The name meant the producers had already done one film. "The Crying Box Productions" was listed as the production company, instead of Carter's usual "Ten Thirteen Productions."[22] The Hollywood Reporter posted a series of information sheets regarding upcoming studio films, and the 20th Century Fox fact sheet referred to the film as The X-Files: Done One.[23]
On April 16, 2008, the official title of the film was announced: The X-Files: I Want to Believe. Carter referred to the title as a "natural title", saying that it pertained to "a story that involves the difficulties in mediating faith and science. 'I Want to Believe.' It really does suggest Scully's struggle with her faith." Carter also said that he and Spotnitz settled upon the title as soon as they started writing the screenplay. This title is a popular phrase among X-Files fans. It is featured on the UFO poster above Mulder's desk.[24]
Music[edit]
Main articles: Music of The X-Files and The X-Files: I Want to Believe: Original Motion Picture Score
After The X-Files was cancelled in 2002, Chris Carter and his crew started working with a goal of releasing a second X-Files film. In 2003, Carter called Mark Snow, who by that time lived in London, United Kingdom and said he wanted him to return for another film. Snow was positive to the idea, but filming got bogged down by contract issues between Fox and Carter. Once the contract issues were sorted out, Carter re-contacted Snow about the development, and later on sent him the script for the film. Carter and his production crew wanted as much secrecy for the film as possible, forcing Snow to sign a contract when receiving the script. After reading the script three times, Snow started on the "visuals" for the story. Snow initially wrote a couple of demos, with which Carter and Frank Spotnitz were not pleased, but they were eventually accepted when Snow re-recorded them.[25]
When composing the score for I Want to Believe, Snow called it "different" from the previous film which followed the shows mytharc storyline about the government conspiracy and aliens. He said it was much "more heart, warmth and tuneful music" since this film was based more around Fox Mulder (David Duchovny) and Dana Scully's (Gillian Anderson) relationship.[25]
Snow recorded the score with the Hollywood Studio Symphony in May 2008 at the Newman Scoring Stage at 20th Century Fox in Century City, California.[26] No music was written out during Snow's recording session with the symphony orchestra. When making the music, Snow used such instruments as the "battery of percussion" taiko drums and whistles with live singers among other things. It took four days to record with the orchestra. He used no trumpets and no high woodwinds when recording, but used up to eight french horns, five trombones, two pianos, one harp, thirty-two violins, sixteen violas, twelve cellos and eight basses.[25]
British performers UNKLE recorded a new version of the theme music for the end credits to the movie.[27] Some of the unusual sounds were created by a variation of silly putty and dimes tucked in between and over the strings of the piano. Mark Snow also comments that the fast percussion featured in some tracks was inspired by the track "Prospectors Quartet" from the There Will Be Blood soundtrack.[28]
Marketing[edit]
Novel[edit]
A novelization by Max Allan Collins was released by Harper Entertainment on July 29, 2008.[29]
Release[edit]
Box office[edit]
Duchovny and Anderson at the premiere
The film grossed $4 million on its opening day in the United States.[2] It opened fourth on the U.S. weekend box office chart, with a gross of $10.2 million.[30] By the end of its worldwide theatrical run, it had grossed $20,982,478 domestically and an additional $47,386,956 internationally, for a total worldwide gross of $68,369,434.[31] Among 2008 worldwide releases, it ended up in 78th place.[32] As a domestic release, it finished in 114th place.[33]
The film's stars both claimed that the timing of the movie's release, a week after the highly popular Batman film The Dark Knight, negatively affected its box-office return.[34][35]
Home media[edit]
Fox Home Entertainment released the film on DVD and Blu-ray on December 2, 2008. The home release included an extended cut that adds an additional four minutes of footage into the movie, including extra violence and character moments.[36] The most recent available data showed it had grossed $16,338,379 from U.S. DVD sales.[37]
Reception[edit]
The film received mixed to negative reviews from critics. Metacritic, which assigns a normalized rating out of 100 reviews from mainstream film critics, reported that there were "mixed or average" reviews, with an average score of 47 based on 33 reviews.[38] Rotten Tomatoes reported that 32% of 161 listed film critics gave the film a positive review, with an average rating of 4.8 out of 10. The website wrote of the critics' consensus stating; "The chemistry between leads David Duchovny and Gillian Anderson do live up to The X-Files' televised legacy, but the roving plot and droning routines make it hard to identify just what we're meant to believe in."[39]
The X-Files: I Want to Believe arrives billed as a 'stand-alone' film that requires no familiarity with the famous television series. So it is, leaving us to piece together the plot on our own. And when I say 'piece together,' trust me, that's exactly what I mean.
“
”
—Roger Ebert, writing for the Chicago Sun-Times[40]
Manohla Dargis of The New York Times found the film "baggy, draggy, oddly timed and strangely off the mark" and that "Mr. Carter knows how to grab your attention visually, but the amalgam of trashy thriller clichés that he has compiled with Frank Spotnitz, another series regular, creates its own deadening effect".[41] Frank Lovece of Film Journal International, likewise said, "What plot there is plays like a PG-13 Se7en: body parts, gruesomeness, gloom and doom, but hey, not too much, and don't worry, there's nothing deeply upsetting", and while praising the cinematography, music and Gillian Anderson's performance, believes, "It seems unlikely that this franchise will reach The X-Files X".[42] Jason Anderson of Canada's CBC News called the film "muddled" with a "hurried and half-baked" climax, and said, "Beyond the pleasure of seeing Duchovny and Anderson back in action and back on form," the film "offers little to either the longtime fans or newcomers".[43] Jan Stuart from the Los Angeles Times commented, "The X-Files was a load of malarkey. But it was thoughtful malarkey and compulsively watchable. One could say the same about the first two-thirds of "The X-Files: I Want to Believe" before it spins out of control and into a delirious plane of awfulness."[44] M. A. Crang, in his book Denying the Truth: Revisiting The X-Files after 9/11, praised the acting, locations and characterization, but felt that the script was the film's "biggest weakness".[45]
Roger Ebert gave a positive review of the film with three-and-a-half out of four stars, saying; "It involved actual questions of morality, just as The Dark Knight does. It's not simply about good and evil but about choices". He also felt "the movie works like thrillers used to work, before they were required to contain villains the size of buildings", also calling the film "a skillful thriller".[40] Sandra Hall of the Sydney Morning Herald was more equivocal, saying, "... it just about works, thanks to Carter's sense of timing and the script's allegorical enhancements."[46] Empire gave the film three stars ("good"), but expressed a desire for Chris Carter to return to the more comedic and "post-modern" elements of the series upon the next revisit.[47] Stephanie Zackarek was mostly positive towards the film, saying; "I Want to Believe comes off like a solid if not great episode from one of the show's early seasons, a reasonably suspenseful story made by a director with a sturdy sense of how to tell a story."[48] Mick LaSalle was also positive towards the film, saying that you didn't need to know anything about the previous settings and calling it a "compelling suspense thriller with some tense moments."[49] TV Guide reviewer Maitland McDonagh gave the film two and a half stars out of four saying that the film was not "sufficiently gripping to transform a middling thriller into something truly provocative or haunting." About the theme and story she said, "such weighty concerns aren't the stuff of most mainstream genre movies."[50]
In preparation for the miniseries continuation of the series, Keith Uhlich of The A.V. Club suggested The X-Files: I Want to Believe is "much better than its reputation suggests." He continues, saying: "It was never this writer’s opinion that I Want to Believe... was some worthless addition to X-Files canon. On first view, it seemed a very consciously low-key study of the Mulder/Scully dynamic, filtered, as per usual, through the prism of the latest mystery the agents were called in to solve. If Fight The Future, which dealt in grandiose fashion with the series’ convoluted alien myth arc, was The X-Files in summer blockbuster mode, I Want to Believe was its attempt at an intimate chamber drama — more Ingmar Bergman than Michael Bay."[51]
Sequel[edit]
In several interviews that Carter gave around the time the film came out, he said that if I Want to Believe proved financially successful, a third installment would be made going back to the TV series' mythology, focusing specifically on the alien invasion and colonization of Earth foretold in the series finale, due to occur on December 22, 2012.[52][53] Fox Chairman Tom Rothman, responding to an interview question regarding the possibility of a third X-Files movie, said in October 2008, "It's really up to Chris [Carter], David [Duchovny] and Gillian [Anderson]".[54] During an interview at the Sarajevo Film Festival in August 2009, Anderson was asked about a third film and responded, "They talked about maybe doing it in 2012. I think there were discussions about that. I don't know whether that's going to happen or not, but there isn't any reason not to do it."[55] Frank Spotnitz responded to his blog readers' requests for clarification regarding Anderson's comments by denying that any deal was in place, saying, "I'm afraid I have no news to report other than our continuing desire to make a third film if there's an audience for it."[56] In an October 2009 interview, David Duchovny likewise said that he wanted to do a 2012 X-Files movie, but still did not know if he would get the chance.[57][58]
In December 2009, Carter said he could not "ensure" another movie would be made, but thought the international box office for the 2008 film made it at least a theoretical possibility.[59] In an interview published in August 2012, Spotnitz said he was talking up the idea of an X-Files movie every chance he got, but that there was still nothing happening on that front, and that time was running very short for a third movie concluding the original X-Files franchise to be made at all. He blamed the poor performance of the 2008 film on the fact that it was not about aliens.[60] Speaking at San Diego Comic-Con International in July 2013, Carter, when asked about a third film, was extremely non-committal, indicating there was still no forward movement, and saying, "We can get to it later."[61] On August 2013, Carter said, in an interview with Empire, that "It's really up to 20th Century Fox, whether they have the will to do it. I think all of us are interested in putting the band back together", adding that a third installment would be a return to the mythology and that the colonisation date of the television series would not be ignored.[62]
In March 2015, it was confirmed that there would be a six-episode miniseries on Fox, featuring Duchovny, Anderson, and some other members of the original cast, which would have both standalone and mythology elements.[63]
See also[edit]
Film portal
2000s portal
References[edit]
Jump up ^ "THE X-FILES - I WANT TO BELIEVE (15)". British Board of Film Classification. July 4, 2008. Retrieved November 29, 2015.
^ Jump up to: a b Finke, Nikki (July 25, 2008). "'Dark Knight $314.2M In 10 Days: Keeps Smashing Record After Record; 'Step Brothers' Big; 'X-Files 2' Bombs". Deadline. Retrieved September 5, 2009.
^ Jump up to: a b "The X-Files: I Want to Believe". BoxOffice Mojo. Retrieved September 5, 2009.
Jump up ^ "X-Files Cast and Crew Talk New Movie & New Season". IGN. November 10, 2001. Retrieved September 5, 2009.
Jump up ^ Allan Smith, Christopher (April 11, 2002). "Carter sheds light on X-FILES 2". Cinescape. Retrieved September 5, 2009.
Jump up ^ Linder, Brian (May 9, 2005). "Carter Talks X-Files Sequel". IGN. Retrieved September 5, 2009.
Jump up ^ "Rob Bowman Talks On 'X-Files 2' Sequel". KillerMovies. July 5, 2008. Retrieved September 5, 2009.
Jump up ^ "Duchovny expects second 'X-Files' movie". USA Today. April 8, 2008. Retrieved September 5, 2009.
Jump up ^ Davidson, Paul (November 23, 2004). "Hope for an X-Files 2". IGN. Retrieved September 5, 2009.
Jump up ^ Keck, William (January 11, 2005). "Actors make rounds at Critics' Choice". USA Today. Retrieved September 5, 2009.
Jump up ^ Davidson, Paul (January 19, 2005). "Duchovny Hopes for a Couple More X-Files". IGN. Retrieved September 5, 2009.
Jump up ^ Otto, Jeff (April 6, 2005). "David Duchovny Talks X-Files". IGN. Retrieved September 5, 2009.
Jump up ^ Davidson, Paul (April 27, 2007). "X-Files 2: Too Early to Celebrate". IGN. Retrieved September 5, 2009.
Jump up ^ "Official X-Files 2 Announcement!". IGN. October 31, 2007. Retrieved September 5, 2009.
^ Jump up to: a b c Schaefer, Glen (March 12, 2008). "Filming of the X-Files sequel wraps". Vancouver Province. Retrieved September 5, 2009.
Jump up ^ McClintock, Pamela; Tatiana Siegel (October 31, 2007). "Fox sets date for 'X-Files' sequel". Variety Magazine. Retrieved September 5, 2009.
Jump up ^ "Duchovny and two co-writers announce new X-Files feature film". Canadian Press. March 12, 2008. Retrieved September 5, 2009.
Jump up ^ Miska, Brad (March 27, 2008). "Bootleg 'X-Files 2' Trailer Online Now!!". Bloody-Disgusting.com. Retrieved September 5, 2009.
^ Jump up to: a b c d Carter, Chris & Spotnitz, Frank (2008). Audio Commentary for The X-Files: I Want to Believe (DVD). Fox Home Entertainment.
Jump up ^ "Riverlands Halloween Bash". SnapdWhistler.com. Archived from the original on 2016-03-14. Retrieved 2014-09-30.
Jump up ^ "Filming in Pemberton". Village of Pemberton. Archived from the original on 2016-04-26. Retrieved 2014-09-30.
Jump up ^ Davis, Erik (October 29, 2007). "'X-Files 2' Gets Ready to Roll This December". Cinematical. Retrieved September 5, 2009.
Jump up ^ "Casting Call". The Hollywood Reporter. March 3, 2008. Retrieved March 14, 2012.
Jump up ^ Germain, David (April 16, 2009). "`X-Files' movie title is out there: `I Want to Believe'". Fox News. Retrieved September 5, 2009.
^ Jump up to: a b c "ScoreKeeper With Composer Mark Snow About THE X-FILES: I WANT TO BELIEVE, The Creation Of The Series' Theme, And Much More!!". Ain't It Cool. June 24, 2008. Retrieved August 1, 2009.
Jump up ^ Dan Goldwasser (May 30, 2008). "Mark Snow scores The X-Files: I Want to Believe". ScoringSessions.com. Retrieved July 27, 2009.
Jump up ^ ""X-Files" theme gets a fresh spin for summer film". Reuters. June 27, 2008. Retrieved July 27, 2009.
Jump up ^ Carter, Chris and Snow, Mark (2005). Trust No One Documentary (DVD). Fox Home Entertainment.
Jump up ^ Collins, Max Allan (July 29, 2008). The X-Files: I Want to Believe. Harper Entertainment. ISBN 0061687715.
Jump up ^ "Weekend Box Office Results for July 25-27, 2008 - Box Office Mojo". boxofficemojo.com.
Jump up ^ "The X-Files: I Want to Believe - Summary". Box Office Mojo. Archived from the original on 11 March 2013.
Jump up ^ "2008 Worldwide Grosses". Box Office Mojo. Retrieved February 14, 2014.
Jump up ^ 2008 Domestic Grosses. Box Office Mojo. Retrieved February 17, 2014.
Jump up ^ "David Duchovny Blames Disappointing X-Files Box Office on The Dark Knight", Filmonic.com. Retrieved January 21, 2015.
Jump up ^ "'X-Files' star reflects on film's performance", DigitalSpy.com. Retrieved February 17, 2014.
Jump up ^ Grab, Eiskaltes (23 July 2009). "X-Files: I want to Believe, The". Movie-Censorship.com. Retrieved 22 December 2016.
Jump up ^ "The X-Files: I Want to Believe - DVD Sales". The Numbers. Archived from the original on 11 March 2013.
Jump up ^ "The X Files: I Want to Believe". Metacritic. Retrieved September 11, 2009.
Jump up ^ "The X-Files: I Want to Believe (2008)". Rotten Tomatoes. Retrieved September 11, 2009.
^ Jump up to: a b Ebert, Roger (July 24, 2008). "The X-Files: I Want to Believe". Chicago Sun Times. Retrieved September 5, 2009.
Jump up ^ Dargis, Manhola (July 25, 2008). "The X-Files: I Want to Believe (2008) - Who's Afraid of the Darkly Paranormal?". The New York Times. Retrieved September 5, 2009.
Jump up ^ Lovece, Frank (July 24, 2008). "The X-Files: I Want to Believe". Film Journal International. Retrieved September 5, 2009.
Jump up ^ Anderson, Jason (July 24, 2008). "Cold Case: The second X-Files movie is a strangely lifeless exercise". CBC. Retrieved September 5, 2009.
Jump up ^ Stuart, Jan (July 25, 2008). "The X-Files: I Want to Believe: Review". Los Angeles Times. Retrieved September 5, 2009.
Jump up ^ Crang, M.A. (2015). Denying the Truth: Revisiting The X-Files after 9/11. Createspace. p. 156. ISBN 9781517009038.
Jump up ^ Sandra, Hall (July 24, 2008). "The X-Files". Sydney Morning Herald. Retrieved September 5, 2009.
Jump up ^ Newman, Kim (July 24, 2008). "The X-Files". Empire. Retrieved September 5, 2009.
Jump up ^ Zackarek, Stephanie (July 24, 2008). "The X-Files: I Want to Believe". Salon magazine. Retrieved September 5, 2009.
Jump up ^ LaSalle, Mick (July 25, 2008). "Out there, once again, in search of the truth". San Francisco Chronicle. Retrieved September 5, 2009.
Jump up ^ McDonagh, Maitland (2008). "The X-Files: I Want to Believe: Review". TV Guide. Retrieved September 5, 2009.
Jump up ^ Uhlich, Keith (January 21, 2016). "The second X-Files movie is much better than its reputation suggests". The A.V. Club. The Onion. Retrieved January 21, 2016.
Jump up ^ Collis, Clark (April 18, 2008). "X-Files creator Chris Carter wants to believe in a third movie featuring Mulder and Scully". Entertainment Weekly. Retrieved October 10, 2009.
Jump up ^ Parfitt, Orlando (July 31, 2008). "Carter Already Planning X-Files 3". IGN. Retrieved October 14, 2009.
Jump up ^ Sanchez, Stephanie (October 14, 2008). "IESB Exclusive: Fox Chairman Tom Rothman Goes On the Record Part 3". IESB. London. Retrieved October 10, 2009.
Jump up ^ "Coffee With Gillian Anderson - Sarajevo FilmFestival". YouTube. August 20, 2009. Retrieved October 14, 2009.
Jump up ^ "Can Reading Be Believing?". Big Light. August 20, 2009. Archived from the original on August 26, 2009. Retrieved October 14, 2009.
Jump up ^ Vejvoda, Jim (October 16, 2009). "Duchovny on X-Files 3". IGN. Retrieved October 19, 2009.
Jump up ^ "David Duchovny talks gay crushes and a possible X-Files sequel". The Daily Telegraph. January 11, 2011. Retrieved January 11, 2011.
Jump up ^ Carter, Chris (December 15, 2009). "Interview with Chris Carter". John Kenneth Muir's Reflections on TV/Film (Interview). Interview with John Kenneth Muir. Retrieved December 22, 2009.
Jump up ^ Radish, Christina (August 2, 2012). "Writer/Producer Frank Spotnitz Talks His Desire to Make a Third X-FILES Movie and the Possibility of a MILLENNIUM Movie". Collider.com. Retrieved February 17, 2014.
Jump up ^ Moore, Matt (July 19, 2013). "'X-Files' Movie Gets No Commitment From Series Creator At Comic-Con". The Huffington Post. Retrieved July 22, 2013.
Jump up ^ Plumb, Ali (August 23, 2013). "Show Creator Chris Carter On A Possible Third X-Files Movie". Empire. Retrieved February 17, 2014.
Jump up ^ Grow, Kory (March 24, 2015). "'X-Files' to Return as Six-Episode Miniseries". Rolling Stone. Retrieved April 2, 2015.
External links[edit]
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values: Досиетата Х: Искам да повярвам – Bulgarian

values: The X-Files: I Want to Believe – Catalan

values: The X-Files: I Want to Believe – Spanish

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values: תיקים באפלה: רוצים להאמין – Hebrew

values: საიდუმლო მასალები: მე მინდა მჯეროდეს – Georgian

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values: Секретные материалы: Хочу верить – Russian

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