Deja Vu

The first two thirds of this picture are outstanding in all respects, but the nearer it draws toward the ending, the more Déjà Vu suffers from its miserable screenplay which tries to convince you that there is more to it than you think. The subject matter isn’t bad, has considerable potential, even working excellently for quite a while, but the ending trips the whole thing up. Even so, the initial idea could be the makings of a pretty good story perhaps for a series like CSI. What makes it even more of a shame is that otherwise this Tony Scott / Denzel Washington duo collaboration worked out well... Well, almost. This time Scott seems to have taken sedatives and although the directing doubtlessly does have his characteristic idiosyncrasies, compared to his recent movies, you can watch this without risking an epileptic fit. This walks in the footsteps of techno-thrillers such as Enemy of the State, but this has a taste of sci-fi in it and almost zero humor. It’s certainly worth watching, but it might be worth leaving the movie theater when the “operation is called off as successfully solved". That way Déjà Vu could aspire to achieving much higher quality levels and you wouldn’t be left with the feeling that somebody missed a big chance. (23/12/2006)

I won't argue with anyone that the script is total phantasmagoria, but no one can tell me that Tony Scott has no competition in the field of "high-speed". Such visual lipstick, which he paints with cinematographer Paul Cameron, would be the envy of the entire cosmetics industry. The plot moves along briskly and, aware of its simplicity, at times goes so far that you wait for Denzel Washington to wink lasciviously not only at his colleagues but also at the viewer through the camera. The only problem may seem to be the ending, but the way the screenwriter duo navigates the trade-off between choosing between fate and pandering to an audience hungry for uniform outcomes is actually to be applauded. This is a twisted and funnier variation on Minority Report, which wins points over Spielberg for me. (26/01/2009)

Despite the unpleasantly fairy-tale ending, the pros prevail. The ultra-sympathetic Denzel Washington, who thinks like all the CSI members put together, the delicious James Caviezel, the likeable and funny scientists... And above all, the unmistakable bombastic direction of Tony Scott. The scene in which a man driving in a car watches a car driving on the same road that he drove on four days earlier is top-notch. Not to mention the introduction. I'm rounding up three and a half for all the entertainment. (25/09/2012)

Tony Scott abandoned his epileptic camera manias that bogged down the otherwise impeccable Domino and took on a script that may look original, but some of us have had the privilege before, including bending paper to explain a space-time jump (remember Event Horizon?). Some may legitimately find the whole plot terribly wacky, others may not like the incongruous combination of crime and sci-fi, but in any case Scott has made an easily digestible flick that is nice to watch, good for eating popcorn and out of your head before you can say "deja-vu". And it's a pity that, given the development of the plot, I had already figured out the only possible resolution half an hour before the end. (09/04/2007)

Old masters Jerry Bruckheimer and Tony Scott created a hybrid of Van Damme’s Timecop and Gilliam’s 12 Monkeys. The great Denzel Washington heroically shoots his way through the film, which can boast precise filmmaking and a great number of screenwriting ideas, but unfortunately suffers from just as many lapses in logic, including the biggest one, connected to the excessively romantic (but emotionally pleasant) happy ending. Déjà Vu is a pleasant, relaxing film that you shouldn’t overthink. (17/06/2007)