He actually seems genuinely interested in telling a story, as absurd as it might be, and the film looks plenty sleek.ĭenzel Washington is right at home as the wisecracking Carlin in a role that is eerily similar to his character earlier this year in Inside Man. By restraint, I mean you can actually tell what’s going on. His ADD-style of film making had already outstayed its welcome by the middle of 2004’s Man on Fire, but color me pleasantly surprised that Scott shows restraint with this offering. It is when the screenplay, by Bill Marsilii and Terry Rossio, begins to make up more rules and demand acceptance of ludicrous events, not to mention a completely unconvincing love story subplot that the film flies off the rails.Īs dedicated readers may recall, Director Tony Scott’s Domino garnered the number one spot on my Worst list of 2005. This is hardly new territory (remember Biff Tannen and the “alternate 1985” from Back to the Future Part II?), but Deja Vu initially ropes us in. The technology allows them to “send” clues back in time to forewarn of future crimes. Carlin discovers that the government has found a way to “bend” time so that officials can see and hear everything that has happened four and a half days in the past. He discovers early on that the explosion was deliberate, but it is when a body washes ashore at the crime scene, seemingly killed before the attack, that things get interesting.Īctually, that’s an understatement. Brought in to investigate is Doug Carlin (Washington), a no-nonsense ATF agent. Naval ship, killing over five hundred people. Deja Vu presents a plot that will require defenders to jump through ridiculous mental hoops to justify and, worse yet, it’s not all that involving.įeeding off the political paranoia that we must all endure daily, the film opens with a terrorist attack on a U.S. After all, isn’t that what makes the movies so fun? But it comes with a catch: the plot must be airtight and, more importantly, grounded in a reality that we can all grasp onto. It is a fact of life that we, the audience, are expected to suspend our disbelief as we enter the theater.
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