Armed men hijack a New York City subway train, holding the passengers hostage in return for a ransom, and turning an ordinary day's work for dispatcher Walter Garber into a face-off with the mastermind behind the crime.
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
A ferry filled with crewmen from the USS Nimitz and their families was blown up in New Orleans on Mardi Gras. BATF Doug Carlin is brought in to assist in the massive investigation, and gets attached to an experimental FBI surveillance unit, one that uses spacefolding technology to directly look back a little over four days into the past. While tracking down the bomber, Carlin gets an idea in his head: could they use the device to actually travel back in time and not only prevent the bombing but also the murder of a local woman whose truck was used in the bombing? Written by
In the compound scene a St. Martin Parish Sheriff's car can be seen parked in the background. New Orleans is located in Orleans Parish, over 150 miles away from St. Martin Parish. A St. Martin Parish Sheriff's deputy would not have jurisdiction in Orleans Parish. While this would normally be correct in post Katrina New Orleans there were many officers from many different jurisdictions in state and out of state. See more »
Can't believe it. They're right on time. Let's get these boys to their party.
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Tony Scott's opening credit is obscured momentarily by a passing sailor. See more »
I was also at that Century City screening last night, and I was probably one of the people who were saying they thought this movie was awesome. I enjoyed it immensely. It has been described as an action-adventure-romance-sci-fi pic and it truly is all of that.
First of all, the cinematography was stunning. Tony Scott and his DOP, Paul Cameron, do fantastic work -- every shot is beautifully composed. And all the footage that involves a cast of thousands (meaning the crowd scenes) is masterful work.
I don't know why I started with commenting on the photography (also the editing) of this movie. It's probably because that is what struck me from the very beginning, particularly when there is so much going on in the opening sequence. Yet you never get lost. Above all, the performances and story are great and really suck you in. Yes, this movie requires a fair bit of suspension of disbelief. I would go so far as to say the plot was far-fetched, but the heart of the story just takes you along for the ride.
For the record, I felt Scott's most recent teaming with Denzel, Man on Fire, was one of the best movies of 2004. I don't think Deja Vu is as good as Man on Fire, but it's right up there as one of the most entertaining and thrilling movies I've seen this year.
For sheer entertainment and an intriguing (though not flawless) plot, Bruckheimer, Scott and Co. sure have DELIVERED the goods.
I recommend you see Deja Vu on the big screen with a big, loud audience for maximum enjoyment. Part of the appeal last night was exactly that; hearing the audience -- as one -- laugh, applaud and sigh along with this movie and getting swept up in that communal experience.
post scriptum -- Any fans of Otto Preminger's wonderful 1994 classic Laura may be delighted by the echoes of that storyline in Deja Vu.
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