2006 Directed by Tony Scott
Called in to recover evidence in the aftermath of a horrific explosion on a New Orleans ferry, Federal agent Doug Carlin gets pulled away from the scene and taken to a top-secret government lab that uses a time-shifting surveillance device to help prevent crime.
Denzel Washington Paula Patton Val Kilmer Jim Caviezel Adam Goldberg Elden Henson Erika Alexander Bruce Greenwood Rich Hutchman Matt Craven Donna W. Scott Elle Fanning Brian Howe Enrique Castillo Mark Phinney Sylvia Jefferies Maureen Brennan Brandi Coleman Shondrella Avery John McConnell Dane Rhodes Clay Steakley Lorry Houston Polly Craig Ted Manson Yvonne Landry Brian F. Durkin Scott Alan Smith Nadia Shazana Show All…
Дежа Вю, Vzpomínky, 데자뷰, Дежавю, Deja Vu, Dejavu
tony scott's loveletter to man's relationship with images/technology--together, at their very best, able to conquer fate, death and reality... probably the most romantic film ever made. we miss you every day tony.
Truffaut: Can you tell me what is was about this book that specially appealed to you?
Hitchcock: I was intrigued by the hero's attempts to re-create the image of a dead woman through another one who's alive.
And I have nothing to give either—except this gesture, this thread between your humanity and mine: I want to hold you in my arms and as your soul got shot of its box of flesh to understand, as you have done, the wit of eternity: its gift of unhinged release tearing through the darkness of its knell.
—Toni Morrison, September 13, 2001
"She has taken an oath to preserve human life." - the sweet old lady from 7 Women
It's inspiring to see the amount of work Tony Scott puts into his films. The concepts of time bending and wormholes even is relevant in regards to its circular structure. The screenwriters complained that Scott ruined their work. Why? Because he made something that's still ahead of it's time and gave them something probably beyond what they had even conceived? The script itself is problematic, it's loaded to the brim with exposition and in anyone else's hands it probably would have resembled a Nolan film. Instead Scott visualizes to the point of no return, screen after screen after screen in our 2.35 frame…
A police procedural compounded by time travel and obsessive longing, as if someone reverse-engineered Vertigo from Chris Marker's deconstruction of it in Sans soleil, then decided to wrap it up in an overarching response to the entire failure of the Bush era, from the Patriot Act to Hurricane Katrina, and then put THAT into a fragmented action thriller. The result is nearly unclassifiable, parlaying the one-sided, unhealthy romantic obsession of the savior complex of thrillers that Vertigo so brutally unpacked into a broader rumination on the security state, one that finds no value in a massive surveillance apparatus that violates every norm only to find the guilty but does find a more complex, purely fantastical hope in the idea of…
"it already happened, it will keep happening and it always will happen."
"maybe."
This film felt like......like......
Now, what's that word again for the sensation that you're watching something you've seen already?
Much better on a second viewing 13 years later. Even the tech ages well. Not sure why I didn’t like it the first time, especially for a Denzel/Scott/Bruckheimer movie. Glad I got to re-watch it.
Also, the car chase that occurs simultaneously in the present and the past is amazing. Such a cool idea.
This is my Denzel guilty pleasure. He's done so many better things before and after this movie. But this is the movie that first got me hooked on his charisma and charm. Honestly, I could live off of an eternal supply of mid-2000s run-of-the-mill thrillers starring Denzel Washington. I just think this is a fun, ridiculous little secret time travel movie. I watch it pretty much every year on/around Fat Tuesday/Mardi Gras because I am a loser.
Some of the epoxistion is clumsy, but like I think that the themes are quite good and I think the editing is top notch. Probably his best film, although he’s not that good so
Gotta give it to Tony Scott, he knows how to make a fascinating and captivating film out of a police procedural examining how surveillance works in our modern society (wild to think of the social and cultural distance between Enemy of the State and this film). Once the film hits its big third act point, and the structure begins to fold in on itself like a piece of paper, I think it loses some of the technical magic, but largely, it remains the kind of smart but character-driven work that I spent years wishing for from colder “auteurs” like Christopher Nolan and the like. Characters before mechanics and physics, always.
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