Edge of Tomorrow
Edge of Tomorrow
Edge of Tomorrow
Directed by:
Doug LimanCinematography:
Dion BeebeCast:
Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Tony Way (more)VOD (2)
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Tom Cruise gets caught in a time loop battling savage alien invaders in this mind-bending sci-fi action spectacular! An unstoppable alien race known as the Mimics are swarming over the Earth, leaving a trail of total devastation. With mankind on the edge of extinction, the world's armies unite for a desperate last stand against this relentless onslaught. Lt. Col. Bill Cage (Tom Cruise) has never seen combat, but finds himself hurled into the conflict and killed within minutes. Then the impossible happens. Cage awakes at the beginning of this nightmare day and has to fight and die again. And again. But with each rebirth alongside Special Forces warrior Rita Vrataski (Emily Blunt), he finds his battle skills improving. Now victory finally seems like a possibility. (official distributor synopsis)
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Some of the information in this review goes beyond what you might want to know before seeing the film. Edge of Tomorrow is clearly the most expensive example of silly gameplay to come along in a long time and possibly the most popular film among Cruise’s detractors, because in no other film does Tom die so many times. With its bold combining of the poetics of both films and video games, it underestimates the difference in the elementary principles on which the cinematic and gaming experiences are based. We go back to games because of the possibility to become (through our avatars) stronger, faster and more agile and to improve these abilities through repeated playing. Films take the element of interactivity out of our identification with the character and deprive us of the feeling that we are the ones who are becoming more capable (though in a certain respect, every viewing of a film is also an interactive activity during which we improve our cognitive ability). Therefore, films should strive to flesh out the characters and to support our emotional connection to them by gradually doling out information. In short, a well-thought-out story and believable characters should have priority over the more immediate “motion and emotion”. In this respect, Edge of Tomorrow falls critically short. The story is just as one-dimensional and dully straightforward as in any given action video game. The characters don’t put much effort into finding a solution that doesn’t involve a lot of shooting and corpses. Though we get into the protagonist’s head on a number of occasions and see the world through his eyes (the very game-like scanning of the space), the film does not give us enough clues as to why we should root for him. Besides the fact that he is a coward who doesn’t want to fight, we learn almost nothing else about him. His vague characterisation corresponds to the requirement of “open” video-game characters onto which players can easily project themselves. (Emily “Full Metal“ Blunt thus portrays the formulaic beautiful action heroine whom every second nerd can platonically fall in love with – though she is outwardly stubborn, tough and indomitable, the increasingly capable hero takes her under his wing as expected and she is thus transformed into just another fragile love interest). However, what works in a video game comes across as screenwriting laziness in a film. The most pronounced transformation that the protagonist undergoes consists in the improvement of his physical skills rather than in the reassessment of his opinions on war, fatalism and other issues that lend themselves to the story. But particularly because of the special abilities that he possesses, we don’t have any reason to fear for him through most of the film (the screenplay certainly does not sufficiently exploit the potential of the situation when Cage was only seriously wounded but didn’t die). We can thus only be amused by the various ways he dies and how he embarrasses the other characters with the scope of his knowledge. Not even the narratively important fact that in some scenes he sees farther into the future than the viewer does (and is thus explicitly used as the narrator of the story, or rather as a player who makes it through to the next level) was elaborated beyond simple gags and affected gestures. Liman was ironically least influenced by video games in directing the action scenes, which contain three times more cuts than would be necessary, so they are at least three times less clear than they could have been. Edge of Tomorrow is an entertaining summer lark that graphically demonstrates how counterproductive an excessive yet poorly though-out attempt to combine film and video-game elements can be. Simple imitation is not enough and, at least in my case, leads especially to thoughts about how much more fun it would have been to just play the game. 70%
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I’m fascinated that the American viewer (the sponsor of the American filmmaking industry) prefers a commercial mishmash called Transformers to an imaginative sci-fi called Edge of Tomorrow, where the name essentially does not reveal anything and the movie can only surprise. The Japanese are known for always having great storylines in their stories and comic books, and I’m glad that finally one of those got this kind of interpretation with Tom Cruise in the leading role. For me, he will probably always be the actor who has signed up for sci-fi movies. Considering he’s a Scientologist, I’m not even surprised that he makes such films. I’m actually very happy that he’s the one to do it, because it fits him the most. As a result, after watching the film, I thought hard about whether to give it five stars. I had a slight issue with the camera, which blurred my vision in a similar way a decent 5 km run can. But that is Doug Liman for you. However, if not for his directing, I might not have seen such an amazing change in Tom’s role. So I can only add that this film has its pros and cons, but even so, it is probably my favorite one from this year’s movies.
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A magnificently filmed entertaining summer sci-fi blockbuster about the war between human and alien civilizations, in which the most affected person is a failed advertising manager who is condemned by the war situation to the role of a military propagandist and an unmanageable conflict with his superior to the position of an ordinary soldier. He is most affected because his fate is not to die once and for all, as soldiers die in battles, but thanks to a time loop he experiences the same day over and over again with the same bungled battle, which ends in a horrifying massacre, and he repeatedly dies in the most painful and bizarre ways. The morbid concept, however, thanks to irony, black humor, exaggeration, likable cast, and detachment, is easily digestible, and when I think about it, I can't find a reason why it shouldn't have the highest rating out of the original 4 stars. Tom Cruise is in his element as a blockbuster hero, and by being a coward and a guy who wants anything but to save the world, he is more likable than usual. But yes, criticism of the illogicality of the initial situation and the whole story is certainly appropriate, but honestly, who would want to dissect inconsistencies in the playfulness with a time paradox in such a relaxing genre? Some scenes definitely remind me of The Matrix or related genre productions, but that's just the way it goes in the crowded world of cinema, and I certainly wouldn't accuse Liman of cheap plagiarism. Overall impression: 90%.
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Already a classic that you will gladly reach for when you’re feeling down. A great screenplay which borrows just enough, combines what we like from Aliens, Starship Trooper (more faithful to Heinlein’s book than the movie) or Groundhog Day. Amazing production design (reminds me of the Crysis videogame), it’s dirty as the sand on the beaches in Normandy (70th anniversary, hip-hip). Tom manages to get round both the yellow-bellied coward and the killer machine and Emily Blunt plays a tom-boy women’s hero in Ripley style, Paxton was pleasing. Clever, funny and mainly an entertaining blockbuster which suited me the most this season so far. Get up, you worm!
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Very well executed concept known from Groundhog Day, Source Code and probably every sci-fi series ever made. At the beginning, the hero is introduced without any heroic attributes and the pandemonium of war that follows during the landing in Normandy sets the bar very high. And it holds there damn long. Edge of Tomorrow only stumbles a little by the end, where the thus far relatively reaistic battles (to the extent than a battle between people in exoskeletons and giant tentacled aliens can be described as “realistic”) abandon the realism and now they are falling from huge heights without any injuries and the entire final fight goes too smoothly, especially considering how important it is and how it goes straight down to business. That said, it’s an excellent action sci-fi blockbuster of the kind that has been missing in cinemas for a long time. The action is spectacular, Cruise and Blunt have good chemistry and the script also has a couple of nice moments.
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