Mighty Morphin Power Rangers: The Movie

Film Information

Mighty Morphin Power Rangers

Title Card for “Mighty Morphin Power Rangers: The Movie”.

After a construction crew accidentally cracks open a gigantic egg that has imprisoned evil maniac Ivan Ooze for centuries, the Mighty Morphin Power Rangers prepare to face their most formidable foe yet. The vengeful Ooze kills their elderly mentor, Zordon, and with him the source of the Rangers’ power. Stunned by Zordon’s death, the Rangers struggle to contain Ooze without the help of the Zords, the giant mechanical robots they have grown to depend upon in battle.

Blu-ray Available from
Amazon.com  (off-site link)
Story by
John Kamps and Arne Olsen
Directed by
Bryan Spicer
Domestic Release Date
Duration
1 hour, 35 minutes
Villains
Goldar, Hornitor, Ivan Ooze, Lord Zedd, Mordant, Oozelets, Rita Repulsa, Scorpitron

Mistakes

  • Before skydiving, Tommy told the teens they were fifteen seconds from the drop zone, and at least thirty-five seconds later, Billy announced that they were three seconds from the drop zone. (01:31)
  • Bulk and Skull jumped out of the plane just barely after Bulk had slipped his other arm through his parachute; Skull never fastened his helmet. (05:57)
  • When the teens sequentially jumped over something while rollerblading, they landed in a different order from which they had jumped: Billy jumped first but landed third, behind Tommy and Kim. (06:32)
  • When the teens sequentially jumped down into a construction site, their order again changed, with Aisha (absent during the jump) being inserted between Rocky and Adam after landing. (06:53)
  • Zordon could have saved precious time in the crisis with Ivan’s release by debriefing the teens via communicator rather than having them teleport to the Command Center for debriefing. (09:35)
  • It was many hours later before the teens were ever shown teleporting to the location of the hyperlock chamber. (14:42)
  • At the beginning of the fight with the ooze beings, Tommy landed in a direction impossible for the manner in which he had jumped off a small cliff. (16:59)
  • As the teens morphed while facing straight ahead, the ooze beings left the scene, somehow without being seen leaving by the teens. (19:21)
  • When Ivan solidified, the ooze on the door behind him looked nothing like it had when he was oozing in; it also appeared to have already dried. (20:05)
  • Zordon’s tube was missing from several shots as Ivan was blasting the Command Center. (21:17)
  • Zordon’s head was missing from several shots as Ivan was blasting the Command Center. (21:39)
  • The design of the sabertoothed tiger face on Yellow Ranger’s helmet was quite different while the Power Beams were on. (22:28)
  • The Power Beams were not particularly bright and did little to illuminate the dark building. (22:31)
  • When the Red and Black Rangers kicked either side of an ooze being’s head, it temporarily squished in with a cartoon effect. (25:08)
  • The Stegastinger’s cables were bare upon shooting out, but they had metal ends as they wrapped around the beam above. (25:19)
  • Blue Ranger used the Stegastinger grappling hook device to pull himself up to an upper level to which it seems he could have jumped just as easily. (25:23)
  • A total of only ten ooze beings were shown destroyed. (26:56)
  • As the teens entered the ravaged Command Center, Aisha wondered what had happened there, even though Billy had already pointed out the ooze on the door. (27:55)
  • The moon appeared to have an atmosphere of some sort. (30:39)
  • The teens were shown streaking toward the dark side of Phaedos, but where they appeared, it was daytime; this same inconsistency occurred again as the Rangers teleported away from Phaedos. (34:00)
  • The Tengu were able to fly through the vacuum of space at the same velocity as the teens had teleported to Phaedos. (37:23)
  • Dulcea’s sticks didn’t have handles at first, then they did after she’d been twirling them, then didn’t when she reassembled her staff. (39:25)
  • As a crowd of children was just beginning to receive their free jars of ooze, Fred, in the very back of the crowd, was curiously examining a jar of ooze that he’d somehow already obtained. (42:19)
  • When the hypnotized Mr. Kelman walked out of his house, he joined a large number of fellow hypnotized parents in the street, yet moments earlier when Mr. Kelman had driven up to his house, the hypnotized parents had not been there. (44:33)
  • A TV reporter announced that Angel Grove police had been fielding hundreds of calls from concerned citizens as the number of missing parents continued to grow, yet these supposedly missing parents were all walking in trances down public streets. (44:55)
  • There appeared to be white cuffs on Dulcea’s owl legs. (48:35)
  • Gatekeeper #4 was on a cliff attacking Billy but was then immediately down below attacking Adam with Gatekeeper #2. (63:53)
  • Ninjetti Billy used a vine over a tree branch as a pulley, leaping off the branch holding one end, hoisting up Ninjetti Adam, who was holding the other end; it seems as though the friction of the vine against the branch should have prevented the pulley system from working, given the two relatively equal weights of Adam and Billy. (64:08)
  • Only moments later, Gatekeeper #4 was then chasing Rocky without its axe weapon; Billy nor Gatekeeper #2 were within sight. (64:18)
  • Adam, Aisha, and Rocky fought the final Gatekeeper on the ground, and Kim, Tommy, and Billy were in the trees, yet in a previous shot, Billy was on the ground and Adam was up near the trees. (64:29)
  • As the teens watched the golden mini-Ninjazords fly around them after the Great Power had been unleashed from the monolith, their awed gazes didn’t follow the actual flight paths of the mini-Ninjazords. (66:23)
  • Ivan exclaimed that it was inconceivable for the Rangers to have returned, but he’d earlier hurried the completion of his Ectomorphicons because he suspected Dulcea would lead them to the Great Power. (68:35)
  • Teleporting back to Earth after obtaining the Great Power, the Rangers materialized in the trashed downtown Angel Grove, at which time Adam suggested they go to the Command Center; why they teleported downtown first is unknown. (68:49)
  • There was a “Gowings” sign in downtown Angel Grove; this is actually a clothing store in Australia (Melbourne and Sydney, to be exact). (70:36)
  • Three minimissiles were shown shooting from the Falconzord’s left wing, yet the shot from behind the Falconzord only showed two missiles flying from each wing, for a total of four. (71:57)
  • The building into which the Bear Ninjazord was blasted hadn’t been shown anywhere near the Zord in the previous shot from behind Hornitor. (73:05)
  • The Bear head surrounding the cockpit in shots of the cockpit didn’t look like the actual Bear’s head. (73:06)
  • Yellow Ranger’s bear chest symbol was missing from her suit after her Zord had been blasted into a building. (73:08)
  • When the six Ninjazords closed in on Hornitor, Tommy said the street was a dead end, but the street actually went back a considerable distance, and Hornitor, at least after Ivan had later merged with it, was flight-capable. (75:47)
  • During the assembly of the Ninja Megazord, the Crane was locked on when the Wolf and Ape docked with the Bear (which was already docked with the Frog), but then the Crane locked onto the Bear a second time immediately afterward, after the arms were already connected. (77:19)
  • The Ninja Megazord appeared to be wielding the Shogun Megazord Saber, a sword belonging to zords that were dormant and had been dormant for many years. (77:35)
  • The monorail train smoothly crossed the broken track over the Falconzord’s back without even a slight bump or loss of power. (78:09)
  • Tommy called the Ninja Megafalconzord the “Ninja Falcon Megazord”. (79:04)
  • As the Ninja Megafalconzord and Hornitor-Ivan flew by the moon palace, the Earth was too small from the moon’s perspective. (81:39)
  • Despite the moon being shown covered with giant stalagmites protruding from its dark surface, it looked normal from afar. (82:01)
  • “Ryan’s Comet” was a flaming mass which passed between the moon and the Earth; comets are ordinarily much larger, pass much further away from the Earth, travel at much greater velocities, and are made of ice. (82:26)
  • When Aisha broke in the red “For emergency use only” glass, she was pushing the red button inside, as it was shown coming back out when she pulled her hand back; she then mashed it again, activating it. (82:37)
  • Both before and after Bulk and Skull activated the crane, they were almost simultaneously up and down the hill. (83:19)
  • When the Rangers spread out around Zordon’s tube, they left their helmets along the front of the edge of the crystal bed, but when the Rangers’ symbols projected, each Ranger had his helmet directly in front of him. (85:07)
  • In the overhead shot of the Rangers’ symbols merging on Zordon, the helmets were nowhere to be seen. (85:16)
  • When the neon-ring columns were coming back together, the Rangers were absent from Zordon’s area. (85:33)
  • In the shot of the columns coming back together and going upright, the Command Center lights were on, but in all other shots before the Command Center was fully restored, the lights were still dark. (85:33)
  • In the shot of Zordon, the helmets were all near the front again, with a gap between the White and Pink helmets which was not there when it switched to Zordon’s perspective looking down at the Rangers. (86:10)

Credits

  • Directed by: Bryan Spicer
  • Screenplay by:
  • Story by: ,
  • Produced by: Haim Saban, Shuki Levy, Suzanne Todd

  • A
    Saban Entertainment/Toei Company
    Production

  • Starring

  • A Bryan Spicer Film

  • Director of Photography: Paul Murphy, A.C.S.
  • Production Designer: Craig Stearns
  • Edited by: Wayne Wahrman, A.C.E.
  • Co-Producer: David Coatsworth
  • Music by: Graeme Revell
  • Costume Designer: Joseph Porro
  • Unit Production Manager: David Coatsworth
  • First Assistant Director: Steve Love
  • Art Director: Colin Gibson
  • Second Unit Director: Gary Hymes
  • Set Decorator: Tim Ferrier
  • “A” Camera Operators: David Williamson, Andre Fleuren
  • 1st Assistant “A” Camera: Damian Wyvill
  • 2nd Assistant “A” Camera: Rebecca Steele
  • “B” Camera Operators: Tracey Kubler, Calum McFarlane
  • 1st Assistant “B” Camera: Mike Kelly
  • 2nd Assistant “B” Camera: Rob Marsh
  • Steadicam Operators: Ian McMillan, Philip M. Cross
  • Additional Camera Operator: Michael Genne
  • Video Split Operator: Michael Taylor
  • Sound Recordist: Bob Clayton
  • Boom Operator: Andy Duncan
  • Stunt Coordinator: Rocky McDonald
  • Stunt Riggers: Jim Stephan, Merritt Yohnka, Tom DeWeir
  • Australian Production Manager: Sue Wild
  • Second Assistant Director: Christopher Dow
  • Unit Managers: Chris Jones, Rick Kornaat
  • Unit Coordinator: Michael Lippold
  • Production Coordinator: Sharon Miller
  • U.S. Production Coordinator: Anthony Allegre
  • Assistant Productino Coordinator: Paul Ranford
  • Script Supervisors: Kate Dennis, Victoria Sullivan
  • Financial Controller: Susan Muir
  • Production Accountant: Jane Corden
  • Assistant Accountants: Liane Lee, Trish Ashenden
  • Australian Casting: Liz Mullinar Consultants, Christine King
  • Original Series Casting by: Katy & Co.
  • Gaffer: Christopher Fleet
  • Best Boy Electric: Phil Mulligan
  • Electricians: Matthew Buchan, Robbie Burr, Matt Clyde, Russell Fewtrell, John Lee, Paul Schmidt, Colin R. Wyatt
  • Lighting Coordinator: Mick Morris
  • Rigging Gaffer: Gary Hill
  • Rigging Best Boy: Paul Cumming
  • Key Grip: David Nichols
  • Best Boy Grip: Toby Copping
  • Crane Grip: Greg Molineaux
  • Grips: Jorge Escanuela, Greg King, David Litchfield, Lee MacKay, Paul “Sweet Pea” Smith, Mick Vivian, Keith Watkins
  • Costume Supervisor: Sanja Hays
  • Costumer: Terry Lamera
  • Standby Costumers: Lyn Askew, Lisa Galea, Jennifer Sant, Alex Westover
  • Assistant Standby Costumers: Kelly May, Fiona Holley
  • Workroom Supervisors: Beata Gidaszewski, Sherly Pilkinton, Sally Steele
  • Wardrobe Buyer: Amanda Irving
  • Wardrobe Assistants: Michelle Fallon, Jason Gibaud
  • Machinist: Helen Head
  • Costume Painter: Tristan Fitzgerald
  • Helmet Fitter: Peter Owens
  • Makeup/Hair Supervisor: Lynn Wheeler
  • Makeup/Hair Assistant: Kerry Lee Jury
  • Lord Zedd’s Castle and Alpha 5 Based on Designs by: Yuda Ako
  • Set Designer: William Passmore
  • Art Department Coordinator: Regina Lauricella
  • Design Draftsmen: Axel Bartz, Ian Robinson
  • Conceptual Artists: Theodore Van Doorn, Eric Brown, Tim Flattery
  • Key Storyboard Artist: Richard Newsome
  • Props Buyers/Set Dressers: Tara Kamath, Lon Lucini
  • Assistant Set Dresser: Martin Williams
  • Standby Props: George Zammitt
  • Assistant Standby Props: Kath Burton
  • Modelmaker: Lewis Morley
  • Construction Manager: John Rann
  • Construction Foremen: Greg Hajdu, Marcus H. Smith, Garth Croft, Dennis Smith
  • Sculptors: Tony Lees, Guido Helmsetter
  • Scenic Artists: Peter Collias, Ian Richter, Billy Malcolm
  • Location Manager: Peter Lawless
  • Location Assistant: Andy Howard
  • Assistants to Ms. Todd: Miranda Culley, Travis Knox
  • Assistants to Mr. Spicer: Jason Bath, Lissa Forwalter Spicer
  • Still Photographer: Jim Townley
  • Assistant Still Photographer: Marc Vignes
  • Unit Publicist: Rea Francis
  • Additional Editors: Frank Jimenez, Jere Huggins
  • First Assistant Editor: Gordon Antell
  • First Assistant Lightworks Editor: Warren Paeff
  • Assistant Editors: Lori Ball, Melissa J. T. Carter, Nick Cole, Tom Demauri, Penny Lee Hallin, Geoff Lamb, Abby McNabney, Richard Pain
  • Trainee Assistant Editor: Sian Savage
  • Soundtrack Executive: Andrew Leary
  • Supervising Music Editor: Joshua Winget
  • Songs and Temp Score: Segue Music
  • Scoring Mixer: Dan Wallin
  • Orchestrations and Conducting: Tim Simonec
  • Orchestra: West Australian Symphony Orchestra
  • Studio: ABC Studio 620, Perth, Australia
  • Technical Coordinator/ABC: Karl Akers
  • Scoring Services: Rookpark P/L, Malcolm Luker, Brendon Darby
  • Original Television Musical Themes: Shuki Levy, Kussa Mahchi, Ron Wasserman
  • Music Supervision for Saban: Ron Kenan
  • Supervising Sound Editor: John A. Larsen
  • Rerecording Mixers: Chris Carpenter, Bill W. Benton, Gregory H. Watkins
  • Sound Effects Editors: Paul Urmson, Adam Kopald, Scott A. Jennings
  • Dialogue Editors: Jim Brookshire, David Spence, M.P.S.E.
  • ADR Supervisor: R. J. Kizer
  • ADR Editors: Jeff Payne, Barbara Boguski
  • Foley Editors: Donald Slyvester, Scott Curtis
  • Foley Artists: Ellen Heuer, Chris Moriana
  • Foley Mixer: David Jobe
  • Foley Recordist: Don Givens
  • Technical Sound Supervisors: Gayle Wesley, Lewis Goldstein
  • Assistant Sound Editors: Ted Caplan, Linda DiFranco, Jeffrey J. Osmer
  • ADR Assistant Editor: Susan Shackelford
  • Recordist: Robert Renga
  • Stage Engineer: Denis St. Amand
  • Sound Facilities provided by: Twentieth Centruy Fox Sound Department
  • Second Second Assistant Directors: Michael Mercurio, Noni Roy, Harriet Spalding
  • Australian Corporate Production Services by: Richard Reiner, James McKendrick
  • Production Secretaries: Laura May Alcock, Trish Wallace
  • Key Office Asssitant: Claire Davidson
  • Behind-the-Scenes Video: Clare Shervington
  • Production Asssitants: Sally Charles, Anton Denby, Dimitri Ellerington, Melani Lewis, Anna McDonnell, Lyndie Menken, Troy Von Reichman, Julian Ryan, Rowena Zande
  • Special Effects Supervisor: Tad Pride
  • Special Effects Coordinator: Steve Courtley
  • Department Coordinator: Tom Davies
  • Special Effects Stunt Rigging: Pollard Productions, Sydney, Australia, James Ring, Valdis “Wally” Selies
  • Visual Effects Supervisor: Erik Henry
  • Visual Effects Coordinator: Steve Dellerson
  • Visual Effects Ramrod: Gig Rackauskas
  • Visual Effects Estimator: Dana Mayer
  • Visual Effects Editor: Kathy Chasen-Hay
  • Visual Effects Assistant Editors: Jeff Etcher, Jessica Landaw
  • Visual Effects Assistant: Linda Koncel
  • Effects Storyboard Artist: Gary Thomas
  • Visual Effects Apprentice Editor: Jason Gaudio
  • Visual Effects by: VIFX
  • Visual Effects Supervisor: Richard Hollander
  • VIFX: Rhonda C. Gunner, Gregory L. McMurry, John C. Wash
  • Visual Effects Producers: Jennifer Bergman, Scott Peterson
  • Ooze Team Supervisor: John (D. J.) DesJardin
  • Ooze Team: Bruce Berman, Scott Giegler, Mike Norville
  • 3rd Act Team Supervisor: Antoine Durr
  • 3rd Act Team: Gary Abrahamian, James Bancroft, Bela Brozsek, Ivan DeWolfM, Mark Empey, Bryan Hirota, Anthony (Max) Ivins, Eric Jennings, Dan Kaufman, Jeroen Lapre, Morris May, Ernie Rinard, Chris Roda, Ha Ngan Roda, Francine “Freddi” Rokaw, Christopher Romano, Ira Shain
  • Digital Compositing Supervisors: Cheryl Budgett, Dean Fister
  • Digital Compositors: Tony Diep, Harry Lam, Candace Lewis, Laurie Livingstone, Edith Ellen Paul, Diane Piepol, Edwin Rivera, Aliza Sorotzkin
  • Matte Painters: Karen DeJohn, Tim Donahue, Alisaon Yerxa
  • Editorial: Gus Duron, Zeke Morales
  • Film Scanning: Dennis Bennett, Greg Bradner, Brade Spencer
  • Technical Support: Bob Froehlig, Gian Ganziano, Andy Korpa, Greg Kozikowski, Chris Russell
  • Special Effects: Richard O. Heimer
  • Producers’ Assistants: Patti Cerami, Josh R. Jaggars
  • Production Assistants: Ed Ros, Matt Schwalb, Wells Noonan

  • Optical Illusions, Inc.

    Jeff Matakovich
    • Effects Editor: Leigh Rahl
    • Editor: Georgie Huntington
    • Coordinator: Joni Waller
    • Digital Compositing: Tony Noel, Kris Gregg, Reid Baker
    • Film Recording: Art Morel
    • Optical Camera: Greg Johnson
    • Animation: John Bermudes, Valentina Morzova-Carr, Sylvia Keulen, Marc Rubone, Stokes/Kohne Associates, Inc.

  • Digital Magic

    • Digital Effects Designer: Rich Thorne
    • Visual Effects Producer: Rodney Montague
    • Visual Effects Technical Supervisor: Jeff Pierce
    • Digital Transfer Technician: John Scheer
    • Senior Visual Effects Compositor: Brian Hanable
    • Visual Effects Compositor: Jack Andrew Atkins
    • Digital Rotoscoping: Heidy Lukas, Marc Scott, Joe Mandia
    • 3-D Animation/Morphing: John “Moose” Musumeci
    • Compositor: Ralph Maiers
    • Visual Effects Coordinator: Sharon Holly
    • Digital Transfer Technician: Todd Dusenberry
    • Color Correction Supervisor: Randy Starnes
    • Colorists: Demetri Kisopoulos, Paul Lear
    • 3D Animation: Spencer Knapp

  • Sessums Engineering

    • Head Design Engineer: Jask Sessums
    • Director of Photography: Michael O. Sajbel
    • Unit Line Producer: Gary Maxwell
    • First Assistant Camera/Operator: Dennis Rogers
    • Miniature Lighting Designer: Alan McFarland
    • Model Shop Manager/Builder: Jerry Greenwood
    • Assistant Line Producer: Jori Hudson
    • Miniature Gaffer 1/24 Scale: Dwight Campbell
    • Miniature Gaffer HO Scale: Michael Balog
    • Miniature Gaffer 1/12 Scale: Robert Krebsbach
    • Modelers: Greg Tracer, Dave Humpert, Dan Carter, Karl Roth

  • Wolf Drum Imaging

    • Executive Producer: John Ornelas, Jr.
    • Producer: Bob Robbins
    • Key Frame Animation/Technical Supervisor: Daniele Colajacomo
    • Key Frame Animator: Eric Daniels
    • Motion Capture Animation: George T. Karl
    • Model Sculptor/Character Wrangler: Eduardo Batres
    • Scene Lighting: Melinda Tidwell
    • Production Support Services: Commotion
    • Production Coordinator: L. Rhiannon Leffanta

  • Additional Visual Effects Produced by

    VCE - Peter Kuran
    • VCE Digital Effects: Michael Aguilar
    • VCE Effects Photography: William Conner

  • Creature Effects (Ivan Ooze, Bone Creature, Gatekeepers)

    Studio Kite - Sydney, Australia
    • Desinger: Warren Beaton
    • Technical Supervisor: Steven Rosewell
    • Creature Effects Art Director: Vikki Kite
    • Foam Latex Supplied by: Makeup Effects Group

  • Global Effects, Inc. - U.S.A. (Alpha 5, Saba)

    • Alpha 5 Designed by: Chris Gilman
    • Sculptor: Conor McCullagh
    • Mechnics: Harvy G. Hubert
    • Electronics/On Set Tech: Tod A. Mathias
    • Patterns: Dean Alan Matherly
    • Coordinator: Shawna Ogden

  • Optic Nerve Studios - U.S.A. (Tengu Warriors, Lord Zedd)

    John Vulich, Everett Burrell, Steve Koch, Russell Johnson, Matt Heimlich

  • Sticks & Stones - U.S.A. (Power Rangers Suits, Power Rangers Helmets)

    • Designed by: Rob Burman, Jennifer E. McManus
    • Crew: Barney Burman, Alex Diaz, Richard Jarel

  • Criswell Productions - U.S.A. (Goldar, Mordant)

    John Criswell, Larry Finch
    • Creature Operators: Chris Koranek, Robin Sherwood

  • Digital Visual Effects by

    OCS / Freeze Frame / Pixel Magic
    • Digital Visual Effects Supervisor: Raymond E. McIntyre, Jr.
    • Digital Artist: Charlie Tang

  • Second Unit

    • Production Supervisor: Michael Levine
    • Second Unit Director/Ooze Fight: Jeff Imada
    • Second Unit Director/Stunt & Fight Coordinator: Jeff Pruitt
    • Director of Photography: Ian Jones
    • First Assistant Directors: Colin Fletcher, David Rose
    • Second Assistant Directors: James McTiegue, Karen Mahood
    • Third Assistant Directors: Michael Sparkes, Stefan Laguna
    • Continuity: Sophie Fabbri-Jackson, Lyn Aronson
    • Coordinator: Basia Plachecki
    • Camera Operators: Brian Breheny, Gary Phillips, Katherine Millis
    • First Assistants Camera: Katrina Crook, Lyddy Van Gyen
    • Second Assistants Camera: Frank Flick, Michael Pickells
    • Video Split Operator: Abe Elshaikh
    • Art Director: Prisque Salvi
    • Property Master: Andy Playford
    • Key Grip: Grant Neilsen
    • Assistant Grip: Brett Marks
    • Gaffer: Craig Bryant
    • Best Boy: Chris Hertzfeld
    • Unit Managers: Paul Malane, James Hopwood
    • Plate Unit Director of Photography: Steven Newman, A.C.S.
    • Motion Control Operators: Steve Switaj, Eric Swenson
    • Unit Nurses: Mandy Ling, Patsy Buchan
    • Safety Officer: Rob Greenough
    • Caterer: John Faithfull
    • Craft Services: Kim Steblina, Kit Quarry
    • Acting Coach: Kerry Walker
    • Extras Casting: Judith Cruden, Jane Dawkins
    • Payroll Sevices: Money Penny Services, Cast & Crew Payroll
    • Titles and Opticals by: Pacific Title
    • Color Timer: Dennis McNeill
    • Negative Cutter: Gary Burritt

  • Cast

  • The Producers Wish to Thank: The Conservation Commission of the Northern Territory, The City of Sydney, Australia, The State of New South Wales, The State of Queensland, Produced with the Assistance of the National Parks and Wildlife Service of New South Wales, Jonathan Tzachor
  • Music Supervisors: Happy Walters, Pilar McCurry
  • Arriflex Cameras supplied by: Sammuelson’s Film Service, Australia
  • Dailies by: Atlab, Australia
  • Color by: Deluxe®

Copyright © 1995 by Twentieth Century Fox Film Corporation

All Rights Reserved

Twentieth Century Fox Film Corporation is the author of this motion picture for purposes of copyright and other laws.

Mighty Morphin Power Rangers and all logos, character names and likenesses thereof are trademarks of Saban Entertianment, Inc. and Saban International N.V. and are registered or are pending registration around the world.

The events, characters and firms depicted in this photoplay are ficitious. Any similarity to actual persons, living or dead, or to actual events or firms is purely coincidental.

Ownership of this motion picture is protected by copyright and other applicable laws, and any unauthorized duplication, distribution or exhibition of this motion picture could result in criminal prosecution as well as civil liability.

Quality assurance services for the release of Mighty Morphin Power Rangers — The Movie were provided by the THX Theatre Alignment Program.

Released By
Twentieth Century Fox