Battlestar Galactica: Blood & Chrome

Battlestar Galactica: Blood & Chrome (2012)
6.9/10
21 900
—
no scores
6.8/10
180
6.9/10
19000
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Release date
Director
Scenario
Composer
Actors
Photo Luke Pasqualino
Luke Pasqualino
William Adama
Photo Ben Cotton
Ben Cotton
Coker Fasjovik
Photo Lili Bordán
Lili Bordán
Dr. Becca Kelly
Photo Jill Teed
Jill Teed
Commander Ozar
Photo Brian Markinson
Brian Markinson
Silas Nash
Photo Sebastian Spence
Sebastian Spence
Lt. Jim Kirby
All actors and roles (10)

Short description

Battlestar Galactica: Blood & Chrome takes place during the tenth year of the first Cylon War, as the conflict between humans and their robotic creations spreads across the Twelve Colonies. William Adama, a recent academy graduate in his early twenties, joins the Colonial fleet expecting combat duty but instead finds himself assigned to a freighter rather than a Viper. His co-pilot, Coker Fasjovik, is a civilian reservist nearing the end of his service and has little patience for an inexperienced partner. Their cargo is Dr. Becca Kelly, a civilian scientist who soon receives new orders that redirect the ship and send it toward Cylon-controlled space. Adama is drawn to the assignment, though Kelly shares few details about its purpose.

The film is a prequel to the reimagined Battlestar Galactica series, following the future commander in his early years. Luke Pasqualino leads the cast as Adama, with Ben Cotton as Fasjovik and Lili Bordán as Kelly. Jonas Pate directed, marking his fourth feature after The Grave, Deceiver and Shrink. The production was a Canadian-American television film from Universal Television.

On IMDb, the film holds a rating of 6.9/10 from around 19,000 votes, and on TMDB it sits at 6.8/10 from roughly 180 votes. The close agreement between the two audiences suggests a generally positive but not enthusiastic response to this wartime chapter of the franchise.

What's left behind the scenes

  • The original sets for the interiors of the star cruiser 'Galactica' have not survived, so many scenes inside the cruiser were filmed against green screens, and the sets were created digitally. To hide the artificiality of the setting, flares were often added to the frame.

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