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.
In the wake of a devastating terrorist attack on a slow New Orleans ferry, the A.T.F. special agent, Doug Carlin, joins an experimental top-secret government program to find the bomber. Designed to bend the very fabric of time, this state-of-the-art technology enables the user to observe a detailed representation of what happened four days and six hours in the past, tracking the target's every move prior to the attack. However, the man responsible for the deadly explosion is bound to strike again. Can Carlin figure out who he is, when he is always precisely four days behind?Written by
This is the second film about the past and present overlapping with one another that Jim Caviezel has been in. The first was Frequency (2000). See more »
The Navy Uniforms may be correct for Fat Tuesday. The Officers and Sailors are wearing Summer Whites. Although most US Navy commands would specify either Service Dress Blue or Winter/Working Blue in February, it is up to the individual commands to make that determination based on their own climate. For example, when there was a Naval Base in Orlando, Florida (a training center which has subsequently closed) the uniform was whites year-round. See more »
Can't believe it. They're right on time. Let's get these boys to their party.
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The opening credits rush in, framed by a box, and then rush out again. 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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