Movie review: ‘Edge of Tomorrow’ is Groundhog Day on sci-fi steroids

As the “Edge of Tomorrow” opens, we are introduced via montage to a future Earth that has been invaded by an alien species known as “mimics.” As the seemingly unstoppable aliens gain a foothold on the European continent and Earth’s armies mount up for one last counter-attack, public relations specialist Major William Cage (“Mission: Impossible’s” Tom Cruise, in full sycophant mode) is hard at work drumming up enlistment for the armed forces. The primary weapon in Cage’s PR arsenal is soldier Rita Vrataski (an incredibly-toned Emily Blunt, “The Devil Wears Prada”), known to the public as the “Angel of Verdun” for her battlefield prowess. With the final push looming and the situation growing more desperate than ever, Cage’s arrogance manages to land him in the last place he ever wanted to be: the frontline. Over and over again.

With the main conceit of the film centering on the notion that Tom Cruise’s character is forced to relive the same day over and over until he gets it right, early buzz on the generic-titled, “Edge of Tomorrow” had it pegged as a sci-fi “Groundhog Day” (1992).

Whereas that film combined laughs with a surprisingly layered take on existentialism, director Doug Liman (“The Bourne Identity”, “Mr. and Mrs. Smith”) presents moviegoers here with a hard-hitting action bonanza that borrows spiritually from the likes of James Cameron (“Avatar”, “The Abyss”) and Neil Blomkamp (“District 9”, “Elysium”). As it turns out, that’s not such a bad thing, as Liman lost none of his flair for staging effective set pieces, including a French beach landing reminiscent of “Saving Private Ryan” (if the Nazis were replaced with tentacled space monsters). Furthermore, as Cage proceeds through the war like a videogame character restarting a level every time he’s failed, Liman deftly keeps the audience invested with a number of editing and pacing techniques that make sure we’re never bored (or worse, lost).

Based on the Japanese novel, “All You Need is Kill” (now THAT’s a title!) by Hiroshi Sakurazaka, the film’s characters rarely rise above caricature, but Cruise and Blunt are charismatic enough in their respective roles as to be somewhat memorable.

Blunt, in particular, stands out as a tough-as-nails warrior who – for lack of a better description – doesn’t take guff from no one, especially a simpering narcissist who isn’t above blackmail to get what he wants. Better known for her dramatic roles, Blunt has undergone a physical transformation here on par with Linda Hamilton’s in “Terminator 2.” As it turns out, Blunt’s Vrataski holds the key to Cage’s dilemma, and, following their disastrous initial encounter, takes it upon herself to (repeatedly) show him the ropes until he is competent enough to end the alien siege.

Tremendous as Blunt is playing someone described in the film as a “Full Metal B*tch,” this is a Tom Cruise vehicle through and through, providing a definite step up from last year’s disappointing “Oblivion.” As Cage, Cruise is smarmy and cowardly as the role calls for, more interested in his self-preservation than anything approximating the greater good. As he begins learning the rules of his existential roundabout, he acquires the skills needed to survive via a series of darkly comic sequences that – more often than not – result in his grisly death. In Cage, we see an amalgam of Cruise ‘s well-established knack for playing (initially) unlikeable characters with the actor’s more recently-revealed willingness to make fun of himself. Of course, since the film takes place almost exclusively from Cage’s point of view, one’s enjoyment of the film depends greatly on their tolerance of all things Cruise.

Doing their part to keep things lively amidst all the conflagrations, star power and special effects, are a colorful supporting cast that includes Brendan Gleeson (“Harry Potter’s” Mad-Eye Moody) as the beleaguered military commander who punishes Cage for insubordination and thereby sets the plot in motion; and a mustachioed, wild-eyed Bill Paxton (“Aliens”, TV’s “Agents of SHIELD”) as a drill sergeant with a penchant for soliloquizing on the virtues of “glorious” combat.

Well oiled as this machine may be overall , the last third of the film is where things get dicey, relying a tad too much on conveniences and contrivances to bring us to our inevitable conclusion. Fortunately, barring a couple of exceptions, the film does a competent enough job of being consistent to its established internal rules and mythology that most people won’t notice.

At the end of the day, “Edge of Tomorrow” takes what could have been the basis for a hard sci-fi film and packages it in a candy-coated blockbuster shell to create an altogether enjoyable action movie experience.

Now, if only we could do something about the shot that closes the film. — VC, GMA News


‘Edge of Tomorrow’ is now showing in cinemas.