De rijke Charles Moore vergezelt zijn mooie vrouw Mickey bij een photoshoot in Alaska. De shoot wordt gemaakt door Robert Green. Om specifieke indianen te vinden voor de shoot vliegen Green, Moore en nog een fotograaf naar goede locaties toe. Onderweg worden ze door vogels bestormd en storten ze neer in een meer. Om te overleven in de bossen waar een moordlustige beer rondhangt, moeten ze op elkaar kunnen vertrouwen. Moore is de enige met de kennis die hen zou kunnen redden. Moore vermoedt dat Green een affaire heeft met zijn vrouw. Dit zorgt voor complicaties tijdens hun overlevingstocht, waarbij ze constant een gevaarlijke beer tegenkomen.
Nee, helaas is The Edge nog niet beschikbaar op Netflix in Nederland.
| Production | Art Linson | Producer |
| Production | Lloyd Phillips | Producer |
| Directing | Lee Tamahori | Director |
| Writing | David Mamet | Screenplay |
| Sound | Jerry Goldsmith | Original Music Composer |
| Editing | Neil Travis | Editor |
| Camera | Donald McAlpine | Director of Photography |
| Crew | Betty Thomas Quee | Stunt Coordinator |
| Art | Melodi Petrigo | Art Department Coordinator |
| Sound | David A. Arnold | Sound Editor |
| Sound | Dave Kulczycki | Sound Editor |
| Camera | Richard G. Mason | Underwater Camera |
| Camera | Patrick McArdle | First Assistant Camera |
| Costume & Make-Up | Gail Kennedy | Makeup Artist |
| Sound | Donald Sylvester | Foley |
| Camera | Pauline Heaton | Underwater Camera |
| Costume & Make-Up | Julie Weiss | Costume Design |
| Art | Robert LaPrell | Construction Coordinator |
| Art | Wolf Kroeger | Production Design |
| Camera | Wayne Goodchild | Key Grip |
| Editing | Michael J. Wechsler | Assistant Editor |
| Sound | Alexander Courage | Orchestrator |
| Art | Robert Dawson | Title Designer |
| Art | Janice Blackie-Goodine | Set Decoration |
| Sound | Harry B. Miller III | ADR Supervisor |
| Visual Effects | Kent Houston | Visual Effects Supervisor |
| Production | Rino Pace | Location Manager |
| Costume & Make-Up | Iloe Flewelling | Key Hair Stylist |
| Art | Alfred A. Arndt | Construction Foreman |
| Directing | Philip A. Patterson | First Assistant Director |
| Sound | Steve Bissinger | Sound Editor |
| Sound | Michael Playfair | Boom Operator |
| Camera | Tim Milligan | Dolly Grip |
| Camera | Kurt E. Soderling | Aerial Camera |
| Lighting | Burton 'Joe' Kuchera | Rigging Gaffer |
| Art | Pierre Bartlette | Construction Foreman |
| Sound | Paul Urmson | Sound Editor |
| Camera | John Clothier | Camera Operator |
| Production | Donna Isaacson | Casting |
| Crew | John Dambrauskas | Carpenter |
| Sound | Kenneth Hall | Music Editor |
| Sound | Ted Caplan | Sound Editor |
| Sound | J.D. Ward | Sound Recordist |
| Lighting | Rick Youck | Best Boy Electric |
| Art | Gary Clayton Ripley | Painter |
| Directing | Christine Wilson | Script Supervisor |
| Costume & Make-Up | Christine Beveridge | Makeup Designer |
| Sound | Jay Wilkinson | Supervising Sound Editor |
| Crew | Mike Vézina | Special Effects Coordinator |
| Camera | Joseph Lederer | Still Photographer |
| Costume & Make-Up | Gail Johns | Seamstress |
| Editing | Nicolas De Toth | First Assistant Editor |
| Crew | Smith Wordes | Choreographer |
| Production | Yvonne Melville | Production Coordinator |
| Costume & Make-Up | B.J. Rogers | Costume Supervisor |
| Production | Alice Ferrier | Production Coordinator |
| Directing | Kevin Leslie | Third Assistant Director |
| Art | Richard Harrison | Art Direction |
