Edge of Tomorrow

Edge of Tomorrow - Dir. Doug Liman (2014)

Live. Die. Repeat.

If you ever thought Groundhog Day would be infinitely improved if it had explosions, robotic mech suits, aliens, and a massive body count, then Edge of Tomorrow is the movie for you. The latest action opus starring Tom Cruise was based on the novel All You Need Is Kill by Hiroshi Sakurazaka, which was also adapted into a manga by Viz Media.

The Earth has been invaded by an alien race known as the Mimics. Nearly the entire continent of Europe has fallen to the relentless extraterrestrials. The United Defense Forces hope they will be able to turn the tide with new high-tech exoskeletons. Major William Cage (Cruise) is a glorified publicist for the military. His job is to sell the war and boost enlistment numbers. However, he's never been in combat and when General Brigham (Brendan Gleeson) orders him to the combat zone, Cage attempts to blackmail his way out. Brigham has him arrested, stripped of his rank, and labeled a deserter.

Sent to the frontlines in Normandy, Cage is exposed to the blood of an Alpha Mimic and gains the ability to reset time. Whenever he dies, he goes back to the morning when he awakens at the forward operating base in Heathrow. Of course, nobody will believe him with the exception of Sgt. Rita Vrataski (Emily Blunt), alternately nicknamed the "Angel of Verdun" and the "Full Metal Bitch. Vrataski has become the face of the military propaganda after leading the human forces to their first victory against the Mimics. As it turns out, Vrataski had temporal powers too, which were lost following a blood transfusion.

Edge of Tomorrow might be the best video game movie ever made that's not actually based on a video game. The screenplay by Jez and John-Henry Butterworth (with a rewrite by Christopher McQuarrie) plays with video game conventions by allowing their protagonist to respawn and begin the level all over again. This allows Cage to train indefinitely under the tutelage of Vrataski. He attempts to survive while saving his fellow troops through trial and error, memorizing situations and enemy movements. Despite some sequences being repeated, the movie never feels repetitive. The filmmakers find unique methods to double back over specific scenes to convey new information or show it from a different perspective. They are able to keep the audience on their toes by keeping them guessing as to whether or not Cage has done this a hundred times or just once.

The budding relationship between Cage and Vrataski serves as the heart of the film, a love story that doesn't fall into the standard issue clichés. They share a bond due to circumstances only the two of them could understand, the burden of dying and watching others die countless times. Vrataski is one of the best female characters to be featured in a major blockbuster in a long while. Emily Blunt is more than up to the task to simultaneously portray fierce and vulnerable, not to mention she's drop dead gorgeous. Meanwhile, Cage fits into the two personas that Cruise has excelled at for decades. Cruise isn't ashamed to start Cage as a smarmy and cowardly individual. This is the smirking, cocksure pretty boy we've seen before in Top Gun, Rain Man, The Color of Money, and many more. With Vrataski's help, he transforms into the steely action hero from Mission: Impossible and Jack Reacher. While the supporting cast has a few colorful characters, only Bill Paxton's Master Sgt. Farell stands out. He's a good ol' boy from Kentucky with a sharp tongue and little patience for shirkers.

Doug Liman cut his teeth on low-budget comedies Swingers and Go, before emerging as an incredible action director with The Bourne Identity and Mr. and Mrs. Smith. Unfortunately, production problems on those pictures along with the failure of Jumper left Liman struggling to hit a home run. He does so with Edge of Tomorrow, which he'll follow up with a big-budget version of Splinter Cell. Liman's direction is energetic and enhanced by the gritty cinematography of Oscar winner Dion Beebe. There's a clear homage to Saving Private Ryan with the chaotic invasion of Normandy and it's no coincidence the movie was released on the battle's 70^th anniversary. Aliens is briefly referenced when Farell and his J Squad are surrounded by blips that happen to be coming from underneath their position. The digital effects are realistically rendered and the Mimic designed as undulating masses of tendrils ala the squiddies from The Matrix Reloaded.

There's a surprising layer of humor to Edge of Tomorrow that adds to the overall experience. Cruise becomes a human Wile E. Coyote as the film finds interesting ways for him to die. At one point, Cage tries to roll away only to be crushed by a passing truck. When he suffers a debilitating injury, Vrataski casually puts him out of his misery with a bullet to the head.

Edge of Tomorrow is easily the best blockbuster to emerge during this summer's always crowded marketplace. There's action, drama, and comedy built around two stellar performances from Cruise and Blunt. It's a shame the movie hasn't gained any traction at the box office likely due to the general public being burnt out on Tom Cruise. Or maybe it's the generic title, which sounds like the name of a daytime soap. Edge of Tomorrow deserves to be seen by a wider audience.

Rating: **** (*****)

Oblivion

Oblivion - Dir. Joseph Kosinski (2013)

The year is 2077 and Earth has been ravaged by a war with an alien race known as the Scavengers. The invaders struck the first blow by destroying the moon and devastating the planet's climate. The humans deployed nuclear weapons to defeat the Scavs, but at the cost of rendering Earth nearly inhospitable. The remnants of humanity are migrating to the Saturn moon of Titan. This is all explained with painstaking detail in the opening narration of Oblivion.

Tom Cruise stars as the live-action version of Wall-E, Jack Harper, not to be confused with Jack Reacher. Harper and his partner/lover Vika (Andrea Riseborough) have stayed behind to be the "mop-up crew." They are tasked with repairing robotic drones that hunt down Scav stragglers and protect massive machines converting Earth's seawater into energy for the new colony. Both Harper and Vika have had their memories wiped as a security measure lest they be captured by the Scavs. Yet, Harper is plagued by dreams of a life before with a teeming New York City and a beautiful woman (Olga Kurylenko). Unlike his dutiful partner, Harper waxes nostalgic about old Earth and ventures off his usual patrol route. He's found a tranquil getaway within a hidden valley where he shoots hoops and listens to vinyl records.

During another routine repair, Harper finds a crashed ship that is decades old and carrying several human passengers in stasis. One of them happens to be Julia, the woman from his dreams. When the drones open fire on them, Harper embarks on a quest to discover the truth about the war and his own identity.

Oblivion is the second feature film from Joseph Kosinski, who previously directed Tron: Legacy. Kosinski has proven to be capable of creating stylish sci-fi worlds though he has a weaker handling on story. Oblivion transplants many of those same new age ideas with a stronger screenplay by Kosinski, William Monahan, Karl Gajdusek, and Michael Arndt. However, it is no less derivative. The story is full of Twilight Zone-style twists while paying homage to a laundry list of classic sci-fi films such as 2001: A Space Odyssey, Silent Running, The Omega Man, along with recent releases like Moon. Harper and Vika operate in the ruined remains of the Big Apple with the Statue of Liberty sticking out of the ground ala Planet of the Apes. Morgan Freeman appears in an outfit he apparently borrowed from Laurence Fishburne's Matrix wardrobe. And much like Morpheus, Freeman seeks to open Harper's eyes to the truth. Even the superb score by French electronic band M83 is reminiscent of Daft Punk's soundtrack for Tron: Legacy.

The movie progresses at a casual pace after a bloated opening overloaded with exposition. This allows the viewer to feast in the sumptuous visuals crafted by Kosinski, cinematographer Claudio Miranda, and their special effects team. Oblivion was filmed in Iceland and they've captured the natural beauty of the pristine landscapes. Though it isn't a rip-roaring action flick, Oblivion does feature a few well-executed set pieces, one of which sees Cruise flying his sleek airship through a canyon with drones hot on his tail.

It's no coincidence that Cruise once again takes on the role of a skilled pilot. His Jack Harper isn't too different from the characters he's portrayed in Top Gun, Minority Report, or Mission: Impossible. He's the loyal trooper who eventually bucks authority when it conflicts with his beliefs. Cruise is strong, but doesn't make much of an impression. Morgan Freeman would have to have a really bad day to turn in a weak performance while Game of Thrones' Nikolaj Coster-Waldau and Zoe Bell are underutilized as his followers. Acting accolades should definitely go to Andrea Riseborough who portrays Vika with a heartbreaking vulnerability along with a stern iciness. She's the best thing in an otherwise lackluster picture, just as she was in Madonna's half-baked W.E. Melissa Leo has some fun as Sally, Harper and Vika's command officer, who only appears as a face on a screen. There's something obviously sinister about Sally's sunny, down-home disposition.

Oblivion is certainly worth catching on the big screen (or at least on Blu-ray) for the eye candy and the aural feast of M83's score. However, the story is far too familiar to be wholly satisfying.

Rating: ** (*****)

Jack Reacher

Jack Reacher - Dir. Christopher McQuarrie (2012)

"Do you think I'm a hero? I am not a hero. And if you're smart, that scares you."

Even without the tragic headlines still fresh in our minds, the opening of Jack Reacher is a tense and disturbing sequence as a sniper primes himself across from PNC Park, home of the Pittsburgh Pirates. We peer through the crosshairs of his rifle scope as the shooter picks off five targets, including a woman clutching a child while fleeing for safety. The investigation is swift and a retired Army sniper named James Barr (Joseph Sikora) is apprehended. During his interrogation by D.A. Alex Rodin (Richard Jenkins) and Det. Emerson (David Oyelowo), Barr remains silent and simply writes on a legal pad, "Get Jack Reacher."

Reacher (Tom Cruise) is a hard man to find. A decorated soldier and a former military investigator, Reacher has dropped off the grid completely. He drifts across the country with only the clothes on his back and a portable toothbrush in his pocket. He's so old-school that he still uses pay phones. You don't find Jack Reacher, Jack Reacher finds you. Reacher is familiar with Barr from a previous case and doesn't arrive as a savior crusading for his innocence, but to ensure he is properly punished for his crime. Despite the pleas of Barr's defense attorney, Helen Rodin (Rosamund Pike), who also happens to be the district attorney's daughter, Reacher is ready to take the first bus out of town.

However, something bothers Reacher about the murders and he sticks around. As he digs deeper, Reacher unravels a dark conspiracy involving a clandestine cartel headed up by a man known only as The Zec (Werner Herzog). The Zec is a chilling puppet master who chewed off his own frostbitten fingers while imprisoned in a Siberian gulag.

There was immediate controversy when Tom Cruise was cast as Jack Reacher, the hero from a series of novels by Lee Child. In the books, Reacher is described as a craggily 6'5 juggernaut with shortly cropped blond hair. He's John Rambo, Sherlock Holmes, and the entire A-Team rolled into one. Imagine everyone's surprise when the 5'7 Cruise stepped into his large shoes. There are moments where Tom Cruise's…well, Tom Cruise-ness works for and against his portrayal of a no-nonsense action hero.

It's rare to find someone physically imposing with the acting chops to kick start a blockbuster franchise. The filmmakers could have gone for someone like Dolph Lundgren or The Rock, both of whom likely would have given a one note performance. Liam Neeson might have done in a pinch or Ray Stevenson. A younger Clint Eastwood could have also been a good choice, especially since the sniper angle is reminiscent of Dirty Harry. In any event, Cruise won the role and had the clout to get it made. At 50 years old, Cruise doesn't look like he's aged in the past two decades. Not an easy task to picture the exceedingly handsome star as a world weary combat veteran who shops at Goodwill. It doesn't help that Cruise's leading lady, Rosamund Pike, is taller than he is.

What Cruise does possess is a grim determination and a forceful screen presence. He may not be playing Jack Reacher any differently than Ethan Hunt or John Anderton, but he's convincing when delivering tough guy lines, such as when he threatens to beat someone to death and drink their blood from a boot. Cruise's Reacher isn't the guy you don't want to mess with, he's the guy you mess with and realize what a mistake that was. Cruise's small stature leads to one of the movie's cleverest sequences in which Reacher evades the police by simply stepping into a crowd waiting at a bus stop.

Jack Reacher was adapted for the screen by Christopher McQuarrie, best known for writing The Usual Suspects. This is his second directorial effort with the first being 2000's Way of the Gun. Handsomely photographed by Caleb Deschanel, Jack Reacher is an old-fashioned action film with McQuarrie eschewing the rapid-fire editing employed by many directors. The fight scenes are captured with a steady camera and a series of extended shots with Cruise performing the majority of his own stunts. There's a climatic confrontation in a quarry as well as a prolonged car chase, a throwback to Bullitt with Cruise ripping through the streets of Pittsburgh in a '70 Chevelle.

The script takes a by-the-numbers approach to the genre and though Cruise is miscast, he handles the material well. What really boosts the film is the inspired casting of German auteur Werner Herzog as the Zec. Despite being on screen for maybe ten minutes, Herzog is one of the most memorable movie villains in recent memory. He is downright eerie as he drones on in that unmistakable drawl of his. The plot centers on a needlessly complex obfuscation, but Herzog is so creepy you're quick to believe his mind works on such byzantine levels. Robert Duvall is also terrific when he pops up in the third act playing a crusty coot as only Robert Duvall can.

Jack Reacher is a rather generic start to a potential franchise for Tom Cruise and Paramount. Still, the movie stands as a solid bit of popcorn entertainment with several well done action sequences. Herzog and Duvall are certainly worth the price of admission.

Rating: ** ½ (*****)

Mission: Impossible - Ghost Protocol

Mission: Impossible - Ghost Protocol - Dir. Brad Bird (2011)

Tom Cruise is one of the biggest movie stars in the history of cinema. Yet, his reputation and box office clout have been tarnished by his bizarre behavior. The Tom Cruise publicity machine has been working overtime to restore his standing in the eyes of the public. Will a return to the mega-successful Mission: Impossible franchise rehabilitate Cruise's status? In my opinion, the man can jump on all the couches he wants as long as he keeps making films like Ghost Protocol.

The fourth Mission: Impossible opens with an exciting prison escape as Ethan Hunt (Cruise) breaks out of a Moscow gulag with help from IMF (Impossible Mission Force) agents Jane Carter (Paula Patton) and Benji Dunn (Simon Pegg). During his incarceration, another IMF member (Josh Holloway from "Lost") has been murdered while attempting to retrieve launch codes for the Russians' nuclear missiles. As it turns out, the codes have fallen into the hands of sultry French assassin, Sabine Moreau (Léa Seydoux), who is in the employ of Kurt Hendricks (Michael Nyqvist), a Swedish-born scientist code-named Cobalt. Hendricks genuinely believes all-out nuclear war will benefit mankind in the long run, allowing only the strong to survive.

The IMF team infiltrates the Kremlin in order to retrieve information on Cobalt. Unfortunately, the enemy is several steps ahead as Hendricks alerts the security to IMF's presence, steals a launch device, blows up the Kremlin, and implicates Hunt's team as the culprits. Branded as terrorists, the entire IMF department has been disavowed by the U.S. government. On the run from Russian authorities, Ethan and his team must clear their names and prevent a nuclear holocaust. Joining them as their newest member is Brandt (Jeremy Renner), an intelligence analyst whose combat skills belie those of a mere paper pusher.

Mission: Impossible III took the franchise down a darker path in line with Casino Royale and the Bourne franchise. Ghost Protocol gleefully embraces the over-the-top elements of the spy genre. JJ Abrams, who directed the previous installment, has stayed on as producer and brought on board writers Josh Applebaum and André Nemec from his Alias days to pen the script. Their screenplay seems to have emerged from the 80's since it is packed to the gills with Cold War trappings. There are Russian antagonists, shady villains with generic foreign accents, and the looming threat of all-out nuclear war between the superpowers. The gadgets are all here too. The IMF utilizes high-tech gear such as a contact lens that can transmit visual data, a magnetic levitation suit, not to mention iPads and iPhones. The iconic masks are present as well. What would a Mission: Impossible movie be without a cool mask reveal? A running gag throughout the film is how the team's equipment always seems to malfunction at the most inopportune of times. Even the famous self-destructing message (hidden inside a payphone) needs a good bang to the side to get it started.

Each installment of the Mission: Impossible series has had a different director behind the camera employing his own trademark style. For Ghost Protocol, Tom Cruise went with an unlikely choice in Brad Bird, whose experience has solely been in animation. Bird has helmed The Iron Giant, Ratatouille, and The Incredibles. His skills have translated to live-action with rousing success. Bird has managed to create an edge-of-your-seat thrill ride in a way that not even action maestro John Woo, who directed Mission: Impossible II, could have. Ghost Protocol consists of one unique action sequence after another as Bird takes the audience on a globetrotting adventure from Budapest to Mumbai. You have a foot chase through a blinding sandstorm and a climactic fist fight in the middle of an automated parking garage. Without a doubt, the centerpiece of Ghost Protocol is a spectacular set piece involving Tom Cruise precariously scaling the outside of the tallest building in the world, the Burj Khalifa in Dubai. It's an amazing stunt that Cruise insisted on doing himself. The sequence was also one of several that were shot in IMAX. Ghost Protocol features approximately thirty minutes of footage shot in the larger format and Bird makes the most of every frame, including the ones featuring the beautiful Paula Patton in a slinky evening gown.

Despite being 49, Cruise is as youthful as ever and slips right back into the role of Ethan Hunt with his usual exuberance. But, Cruise is smart enough to know when to step aside and allow his co-stars to share the spotlight. Indeed, Ghost Protocol is more about teamwork than its predecessors. Simon Pegg is easily one of the film's highlights with his trademark brand of comic relief. Jeremy Renner, who might be groomed to take over the franchise, is a welcome addition. While his castmates play it big, Renner underplays the role of Brandt and gives him a dry sense of humor. Also look for cameos from Tom Wilkinson as the head of IMF and Ving Rhames returning as Luther Stickell.

Mission: Impossible – Ghost Protocol is the epitome of a well-made, big budget blockbuster. The law of diminishing returns is not in effect here as the fourth picture is far and away the best in the series. The extra surcharge is worth it for the IMAX version as Ghost Protocol is gorgeously shot and one of the most fun movie experiences of the year.

Rating: **** (*****)

Knight and Day

Knight and Day - Dir. James Mangold (2010)


I’ve made it known that I am able to set aside an actor’s or filmmaker’s personal life in order to enjoy their work. Despite his general craziness in real life, I’ve enjoyed a lot of Tom Cruise’s output over the last few years such as the Mission: Impossible franchise and Minority Report, one of the best films of the past decade. And who can forget his profanity-laced performance in Tropic Thunder? Cruise is an actor who enjoys working in big-budget, Hollywood pictures. However, you can’t help but feel that his couch jumping antics have dulled his star power.

Cruise attempts to play up his action hero persona in Knight and Day alongside his Vanilla Sky co-star, Cameron Diaz. Diaz is June Havens who runs an auto body shop in Boston and is flying out of Wichita after picking up some parts. She bumps into Roy Miller (Cruise) at the airport and winds up on a plane full of assassins. Miller dispatches the passengers, crew, and even the pilots before landing the plane in a cornfield.

As with all spy movies, there’s a MacGuffin at the center of it all. In this case, it is a perpetual energy battery (AA-sized) code-named the Zephyr. Miller claims to be a CIA agent who was double-crossed by his partner Fitzgerald (Peter Sarsgaard) who hopes to sell the battery to a Spanish arms dealer (Jordi Molla). The CIA claim Miller has gone completely off his rocker and cannot discern from reality and delusion. Shanghaied on a globe-trotting adventure, June finds herself falling for Miller while questioning the truth about him.

Knight and Day certainly had potential to be something different. I didn’t expect Cruise to poke fun of his personal life, but he doesn’t attempt to ridicule his on-screen persona either. He simply coasts by on the same jittery charm he’s always had. The film doesn’t attempt to lampoon the familiar tropes of the spy thriller. Instead, it simply revels in them, employing cliché after cliché.

The latest entry in this year’s rash of action/romantic comedy hybrids, Knight and Day kicks off with the rom-com staple of the meet cute before bouncing back and forth from genres. Compared to similar movies like The Bounty Hunter and Killers, Knight and Day does action bigger and better. Credit goes to director James Mangold whose diverse filmography includes Kate & Leopold, Walk the Line, and 3:10 To Yuma. Mangold keeps the film from really dragging even if the action sequences come off as lightweight Jason Bourne. Once the action subsides, we’re left with comedy and drama that fall flat. The banter feels contrived and the plot lacks any element of mystery. As if Tom Cruise could be anything other than the hero.

Cruise’s character may be defined, but they can’t seem to make up their mind about Diaz. One moment she’s a spastic mess shrieking in fear, the next she goes into John Woo mode while straddling Cruise as they rip down the streets of Barcelona on a motorcycle.

Though first-timer Patrick O’Neill is the only credited writer, the script was passed through the hands of nearly a dozen other writers, including Mangold himself. Knight and Day is the kind of utterly conventional picture that comes from filmmaking by committee. Dull, toothless, and forgettable.

Rating: *

Valkyrie

Valkyrie - Dir. Bryan Singer (2008)


The fall of 2008 is a great time to be a Nazi, cinema-wise. There’s been a wealth of releases dealing with World War II and Hitler’s Fourth Reich. The Boy in the Striped Pajamas, Adam Resurrected, The Reader, Good, and Defiance, but the biggest, high profile production has to be the Tom Cruise vehicle Valkyrie. Cruise dons an eyepatch as Col. Claus von Stauffenberg who lost his left eye, right hand, several fingers on his left hand during a campaign in North Africa. Already disillusioned with his Fuhrer and the atrocities committed by the SS, Col. Stauffenberg joins with a secret cadre of similarly disenchanted officers and politicians in a plot to assassinate Hitler. The conspirators plan to take Adolf out with a bomb planted at his headquarters, the Wolf’s Lair. However, the true problem that hadn’t been addressed in previous attempts is what to do afterwards. It is Stauffenberg that hatches the idea to use the reserve army to secure Berlin and arrest members of the SS in order to finalize their coup.

You don’t need to be a history buff to know their plan fails. It’s a testament to the filmmakers that they were able to keep the suspense. Director Bryan Singer is used to working with ensemble casts that might be unwieldy in other hands. Here, he re-teams with his Usual Suspects screenwriter Christopher McQuarrie and co-writer Nathan Alexander. Valkyrie doesn’t deal with the deeper issues of war and the concentration camps are only mentioned once throughout the entire film. This is slick Hollywood filmmaking at it’s finest, a stripped down Mission: Impossible without all the gadgets and stunts.

As the lead, Tom Cruise isn’t as terrible as most people assumed. He’s not spectacular, but he’s perfectly adequate, if a tad too American. Luckily for Maverick, he’s got plenty of back-up in the form of an A-list supporting cast of some of the finest actors working today. And best of all, they’re British. Who else can lend credibility and gravitas to a film than an Englishman? Even Hitler is played, quite convincingly, by a British actor (David Bamber). There’s also Kenneth Branagh as Major-Gen. Tresckow who brought Stauffenberg into his circle after failing to kill Hitler with a booby trapped champagne bottle. We’ve got the always excellent Tom Wilkinson as Gen. Fromm who seems content with sitting back and seeing where the chips fall, Terence Stamp as one of the head conspirators, and rounding out the heroes are Bill Nighy and Eddie Izzard in a rare (but great) dramatic role. So that’s Ethan Hunt, Prof. Gilderoy Lockhart, General Zod, Carmine Falcone, Davy Jones, and one of the Disco Boys. How did Hitler survive against those odds?

No one speaks in a German accent by the way as Singer chose to allow his actors to speak with their natural voices. The odd amalgamation of American, British, and German accents is fairly distracting at first, but the story is engrossing enough that you forget all about it.

Cruise’s off-screen shenanigans unfairly soured the film long before it was released. The picture also suffered from several delays and reshoots partly due to film stock being destroyed. Again, that led to some negative buzz which was unfounded. Valkyrie won’t find its way onto any year-end lists, but it’s a good, popcorn thriller.

Rating; ***