After a ferry is bombed in New Orleans, an A.T.F. agent joins a unique investigation using experimental surveillance technology to find the bomber, but soon finds himself becoming obsessed with one of the victims.
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.
Director:
Tony Scott
Stars:
Denzel Washington,
John Travolta,
Luis Guzmán
With an unmanned, half-mile-long freight train barreling toward a city, a veteran engineer and a young conductor race against the clock to prevent a catastrophe.
Director:
Tony Scott
Stars:
Denzel Washington,
Chris Pine,
Rosario Dawson
A post-apocalyptic tale, in which a lone man fights his way across America in order to protect a sacred book that holds the secrets to saving humankind.
Directors:
Albert Hughes,
Allen Hughes
Stars:
Denzel Washington,
Mila Kunis,
Ray Stevenson
On his first day on the job as a Los Angeles narcotics officer, a rookie cop goes beyond a full work day in training within the narcotics division of the L.A.P.D. with a rogue detective who isn't what he appears to be.
Director:
Antoine Fuqua
Stars:
Denzel Washington,
Ethan Hawke,
Scott Glenn
An airline pilot saves almost all his passengers on his malfunctioning airliner which eventually crashed, but an investigation into the accident reveals something troubling.
Director:
Robert Zemeckis
Stars:
Denzel Washington,
Nadine Velazquez,
Don Cheadle
A young CIA agent is tasked with looking after a fugitive in a safe house. But when the safe house is attacked, he finds himself on the run with his charge.
Director:
Daniel Espinosa
Stars:
Denzel Washington,
Ryan Reynolds,
Robert Patrick
A police detective, a bank robber, and a high-power broker enter high-stakes negotiations after the criminal's brilliant heist spirals into a hostage situation.
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
ahmetkozan
United States Navy personnel from several area commands served as extras. See more »
Goofs
Agent Carlin discovers the evidence of blasting caps washed
ashore at 1245; he returns the call to the victim at 1318 (1:18pm). He seems to do quite a lot in those 33 minutes: investigates the surface and underside of the Crescent City Bridge, visits the police department to notify them that it is a crime scene, gets a cup of coffee there (by inquiring the location of the coffee pot), drives back to the ATF office, and attempts to reach his partner. See more »
Quotes
[first lines]
Ferry Captain:
Can't believe it. They're right on time. Let's get these boys to their party.
See more »
Crazy Credits
The opening production logos stop in mid-sequence, reverse for a moment, then stop again and continue forward. See more »
Melt Away
Written by Alex Forbes, Jeff Franzel, Peter Gordon (as Peter Laurence Gordon)
Performed by Love of Life Orchestra, featuring Alex Forbes See more »
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.
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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.