Déjà vu

It's a real shame that everything I had read about Déjà Vu concerned the high-powered explosions and loud clatter of guru/producer Jerry Bruckheimer. No mention, except maybe as a footnote, was given to A-list director Tony Scott and the magic he has woven in his past three films. The man who brought us Top Gun has seen a sort of revival in style lately with the entertaining Spy Game, the amazing Man on Fire, and the kinetic Domino. Scott has taken the quick cuts of music videos and has infused them into his shooting style. His editor better be making some good money as these films fly by with filters, jump-cuts, grain, and camera angles swiveling at every turn. Greatly overshadowed by brother Ridley Scott and his more serious, award-winning epics, Tony has been pumping out some of the most solid and entertaining films of the past couple decades. With a reuniting of semi-regular star Denzel Washington, Déjà Vu proves that when Bruckheimer is paired with a like mind, his usual drivel can become great. Scott shows us how to hone the explosions, noise, and clutter to an effective level and gives us a helluva ride.

Déjà Vu could have easily reduced itself to timetravel farce, going by the books to show a time warp in order to solve a crime. The far-fetched premise of being able to see the past as it happens four and a half days later should seem crazy and by watching the previews you are given the idea that it will be just a series of do-overs. Fortunately the trailers these days show a totally different movie than what has been crafted. Scott and his screenwriters have not only developed a sci-fi tale seeped in enough reality to at least be looked upon as plausible for the sake of the story, but they nicely tidy up any chance of their being a plothole. Our story begins with a devastating domestic terrorist act upon a ferry carrying over 500 people, Navy and family. Washington's ATF agent is brought in and discovers that it was no accident. Intrigued by the efficiency he displays, an FBI agent, played with nicely effective restraint by Val Kilmer, calls him in to check out a new toy they have to find who the perpetrator is. During the use of this screen of the past, Denzel acquires a feeling of obligation to do all he can to prevent what he sees from occurring in the present, no matter what consequences that might entail for the future. The quest to stop the violence begins with an attractive young woman who unknowingly has become an integral part in what will ultimately transpire.

The beauty of this film is that with multiple timelines being shown parallel to each other, there are many questions that desperately need answering. To credit all involved, they appear to have put themselves in the audience's shoes and piece-by-piece wrote in a reason for everything. Anything that is seen either in the past, present, or future has a reason for being there and will be intelligently explained. Also, the performances are stellar, Denzel and Kilmer as well as a quietly maniacal Jim Caviezel and the emotionally exasperated Paula Patton, and the visuals unique. While Scott has toned down the ultra-kinetic cuts and filters for the main action, his style is still stamped on the graphics of their screen showing the past. The motion trails and speed scans lend a stylized digital editing program feel and are gorgeous to watch. Déjà Vu's best sequence, however, is the crazy car chase during the present in pursuit of a vehicle in the past, definitely a rush and orchestrated almost flawlessly. Even though Ridley gets the accolades and Tony gets the hack/overproduced label, I must say, while they are the best directing duo in Hollywood, I might have to give the edge on pure cinematic entertainment to the younger Tony. He is on a roll and doesn't seem to be stopping anytime soon.

I had never heard of this movie, but it appeared on cable and when I saw the cast, I figured "how bad could it be?". I thought it was terrific. Nothing of great dramatic or historical significance, of course, but who cares? Denzel is his usual infinitely watchable self, Val Kilmer is quirky with yet another interesting dialect and Adam Goldberg is fantastic. All three are smooth, assured and entertaining. A lot of posters and reviewers talked about how "unbelievable" the science fiction aspect of the plot was, but that never bothers me. Once I figure out what I'm supposed to suspend my disbelief about, I just do so and enjoy what the filmmakers are doing. I actually found this particular sci-fi plot quite intriguing and really liked having to try to follow its twists and turns through the action.

As has been said before, this is definitely a Sci Fi/ Film Noir/Action/Romance. How many of those have you come across? Highly recommended. Big fun and smart besides.

First glance of Déjà Vu's DVD cover presents what appears to be another action flick with a bunch of good looking people looking too cool for school. Not that there's anything wrong with that, they can't all be "Agent PW" (Peewee Herman), but with the oversaturation of such action flicks it's easy to let one slip past you. Then I noticed who directed this film: the late, great Tony Scott.

Tony Scott committed suicide by jumping off a bridge in 2012. We'll get to that in a minute. First let's go back in time, as this movie does (speaking of which, here's all you need to know about Déjà Vu's plot in 1 sentence: the movie opens with a tragedy in the first 5 minutes, and the remaining 121 minutes take our hero on a wild ride to unravel the truth and possibly... change it?).

Tony Scott, younger brother of Ridley Scott ("Alien", "Blade Runner", "Prometheus"), was just as stylish and atmospheric with his films. Although best known for the more mainstream "Top Gun", "Days of Thunder" and "Beverly Hills Cop II", he first turned heads with his phenomenal debut "The Hunger", which was to vampire flicks what Kubrick's "2001: A Space Odyssey" was to scifi flicks. It brought a degree of sobriety and realism to a genre dominated by fantasy and cheesy special effects. Or in other words: "sh!t gets real."

Here in Déjà Vu, we get the same sober treatment of "time travel" movies. It's not just Marty McFly flooring a suped up Delorean and cruising into the past. Rather, we are presented the somewhat credible idea of being able to observe the past in real-time, similar to the way our telescopes allow us to observe the past of stars unfolding in real-time even though they have burned out billions of years ago. That's about all we get as far as explanations which I think is good. Nobody wants to spend 15 minutes talking about flux capacitors and stuff when people are about to get killed.

The action doesn't let up for a single moment. That doesn't mean that there are continuous car chases and shootouts, but what I mean is that there's a thick air of tension that Tony Scott achieves even during quiet moments because there is always a sense of impending peril. Take the opening 5 minutes, for example. Even if you hadn't read the IMDb description (which I always advise people not to!) and even if I hadn't told you that there's a tragedy in the first 5 minutes, you can feel something is going to happen because that's what Tony Scott conveys to us from the 1st frame.

A quick word about the acting, even though it should be obvious with Denzel Washington: fantastic. He reprises his signature action role of a loner who's somewhat cynical but not above showing tremendous humanity and compassion in addition to explosive outbursts. He also adds some great comedic moments, although most of the film's comic relief is handled by the excellent Adam Goldberg (remember Chandler's psycho roommate for 3 episodes of "Friends"?) who plays the fast talking, sarcastic, pop-culture-quoting computer nerd "Denny" who throws out zingers referencing everything from "Saturday Night Live" to "Airplane!" Now back to director Tony Scott and his suicide (you thought I had forgotten).

The undisputed power of this film is carried by its mystery. I'm not just talking about whodunnit, but more importantly: whydunnit? Powerful themes of fatalism vs. free will, acceptance vs. action, and even a tasteful dose of logic vs. spiritualism are thrown at us around every corner. The result is a thriller where we can't figure out the director's strategy or motive until the very last scene. Some filmmakers are somewhat predictable (you always know Disney will end happy, you always know John Carpenter will end with a few gallons of blood). But here Tony Scott plays with his cards so close to his chest, and not only that but he fakes us out quite a few times, that your fingernails will be deeply imprinted in the armrest of your chair or the flesh of the unlucky person sitting next to you. And isn't that how Tony Scott left this world? An unexplained suicide (although some family members mentioned a secret battle with cancer, the coroner's official report showed no cancer, no serious medical conditions), the only thing that everyone could agree on was that Tony's leap from the bridge was "inexplicable". Who knows, maybe watching this film will give you some insight into the mind of the great director. Perhaps coincidentally, a bridge figures into this movie as a prominent symbol.

Who knows, maybe you just wanted to watch a run-of-the-mill action flick with a bunch of good looking people looking too cool for school. But there's so much more here. Déjà Vu will definitely make you do a double-take.

The reason I waited a few years to do this review is that I wanted to see the film a few times - something that reviewers should consider before dashing off a critique.

I have seen Deja Vu four times top to bottom and my comments:

1. Near perfect hi-concept film. Involves sci-fi, time travel, detective work, etc. But when push comes to shove it is about connection and saving the person you love.

2. Technically flawless. Well written. Great acting. And with Denzel holding the camera scene to scene even if there were some flaws, you would not notice them anyway

3. I will be honest. The picky reviews bother me because the purpose of the IMDb is to create a record for viewers of the futures, not a whine fest for reviewers of the present. I am a film buff (see my other reviews) and I tried to make a list simply of other films in this category, yet alone films that are this good. Maybe a dozen tops in the last 100 years. Which means that films like this are rare and when a good one comes along you treasure it, not belittle it.

Highly recommended. Hi emotional impact. A feel-good film.

I've seen and read so many time travel things over the years that I know one could pick at this forever. Still, once we embrace the technology and go with the plot, it's hard to stop watching. This evaded me when it first came out. I rented it and was captured. First of all, it's that cool Denzel thing he does. Especially when he is quizzing someone. He knows he's the man and he leaves the person being spoken to looking to see if his wallet has been stolen. I remember some of this from "Remember the Titans." The passing in and out of realities begs the question of what will happen to the characters when they make it back? Especially if we like them. And we do. The government, of course, does what it can to screw up, but the rebel always get his way, doesn't he? This is a film one thinks about long after seeing it. I decided to ignore the science and just enjoy it. I would have given it 9 but there are some plodding parts in the middle. It also suffers from a bit too much avoidance of common sense.