Edge of Tomorrow (2014)
by Steve Habrat
It’s been five long years since megastar Tom Cruise shouldered the weight of a massive summer blockbuster, leaving many filmgoers to wonder if the controversial action hero still had his box office mojo. In between 2010’s forgettable Knight and Day and last spring’s Oblivion, Cruise starred in two holiday blockbusters (2011’s Mission Impossible: Ghost Protocol and 2012’s Jack Reacher), and turned up in a bit part in 2012’s Rock of Ages, a messy summer musical that didn’t give Cruise top billing even though he stole the movie away from the teeny-bopper stars headliners and seasoned veterans. While off-screen antics and tabloid rumors have certainly soured Cruise’s reputation, the actor’s newest film answers the question of whether or not Cruise could still hold his own in a season that now belongs to Marvel superheroes and computerized Transformers. Behold Edge of Tomorrow, a nimble and clever sci-fi blockbuster that finds Cruise once again punching and shooting his way through an army of rampaging aliens. Based upon the graphic novel All You Need Is Kill by Hiroshi Sakurazaka, Edge of Tomorrow passes up the brooding tone that many summer blockbusters have been opting for over the years, and instead works with a bubbly, old-fashioned formula of comedy and thrills that leaves you stumbling out to the parking lot with an invigorating rush and proudly declaring to your buddies or your date that you’d gladly take that ride all over again.
Edge of Tomorrow begins by explaining that mankind is locked in a brutal war with aliens called Mimics, which arrived on Earth in a fiery asteroid several years earlier. With nearly all of Europe conquered by the Mimics, the United Defense Forces issues an exoskeleton called “Jackets” to each and every solider, which gives the humans a fighting chance against the savage enemy. Hope is also found in Rita Vrataski (played by Emily Blunt), a fierce warrior who led the humans to victory at the battle of Verdun. Confidence is kept high by UDF spokesman Major William Cage (played by Tom Cruise), who has been talking up Operation Downfall, a massive campaign that will launch thousands of soldiers into Europe to topple the Mimic menace. Much to his surprise, Cage is summoned by General Bringham (played by Brendan Gleeson), who informs Cage that he will be jumping into the fight and storming into Europe. Terrified, Cage attempts to resist the order, which leads to him being arrested by Military Police and forced to the front lines. Unable to work one of the “Jackets” and squeamish at the sight of blood, Cage stumbles his way into battle behind Master Sergeant Farell (played by Bill Paxton) and a slew of colorful soldiers. The UDF is stunned to learn that the Mimics were aware of the invasion and are waiting for the soldiers as they approach. In the thick of the battle, Cage manages to kill a Mimic, but just as he is about to die, he gets covered in alien blood, which gives him the ability to keep reliving the battle over and over again.
In the hands of director Doug Liman, Edge of Tomorrow delivers plenty of epic but not overly showy action sequences that are sure to dazzle sci-fi diehards. The scenes of “Jacket”-clad soldiers storming onto a bombed-out European beaches present themselves like a futuristic WWII, with drop ships decorated with sneering faces and pin-up girls spinning out of the sky in blazing balls of fire, and soldiers struggling to get their bearings as they stumble through sheets of sand and soot. It’s a gritty and unique combo that gives the opening stretch of Edge of Tomorrow a pulpy sting. While Liman knows how to throw you into the intensities of war, he certainly never allows the CGI mayhem to eclipse the film’s impressive characters or its welcome sense of humor. There are more than a few moments that are downright hilarious, from Cage sweating and panting as he attempts to hang with battle-tested soldiers that hoot and holler their way into the alien lines, to some amusing death scenes that barrel straight out of left field. Most of the humor emerges in the scenes between the “Full Metal Bitch” (Rita) and Cage, as she attempts to whip the fidgety Major into fighting shape. What’s even more impressive is the way that Liman lingers on the human interactions, allowing raw emotion to overpower some of the film’s best action sequences. You’re given plenty of time to care for these characters, and what’s even more exciting is that you take them with you past the end credits.
While Cruise’s personal life may have left many groaning, no one can deny that the man hasn’t continuously churned out memorable performances over the past few years. Edge of Tomorrow is no different, as Cruise gets kicks around with a smile stretching from ear to ear. He seems right at home in the skin of Cage, and it’s a nice switch-up when we learn that his character can’t even stand the sight of a paper cut. He’s undoubtedly spirited, and he continues to hone the comedic chops he’s been fiddling with since 2008’s Tropic Thunder. Cruise also finds plenty of chemistry with the beautiful Blunt, who brings her icy disposition to Rita, Cage’s fierce ally who understands just what is happening with Cage. Naturally, the two form a romance fit for a popcorn movie, but it’s welcome as it melts Rita’s frosty exterior to reveal a haunted interior. Another surprise is Bill Paxton, who has kept a low profile over the past several years. He emerges with a thick southern accent and a fast tongue, strutting his way through the role of Farell with such smug confidence that you’ll keep wondering just where the heck this guy has been all these years. And then there is Gleeson, who stands firm as General Bringham, a stone-faced general who refuses to allow Cage to weasel his way out of combat.
While Edge or Tomorrow brims with excitement, the film does wander off a bit into conventional territory. The epic climax—while fun—grows increasingly formulaic and predictable as it unfolds before our eyes, and the whole exoskeleton thing looses a bit of its cool factor as it trails in the wake of Neill Blomkamp’s blazing Elysium. Some of the background characters, specifically the ragtag unit that Cage is assigned to, are eccentric but also a bit cliché. As far as the aliens go, Liman and his team think up a parasitic enemy that is difficult to comprehend as it burrows deep into the sand and then attacks with a sudden fury that shakes you out of your seat. Liman never lets them stand still for very long in the frame, allowing the audience blood-curdling glimpses that make the aliens all the more terrifying. Overall, while the climax fizzles out, Edge of Tomorrow exceeds all expectations with surefire direction, an entertaining script, a playful sense of humor, gritty action, and sincere performances that keep the project grounded even as nasty extraterrestrials threaten to wipe out humanity. Yet what Edge of Tomorrow ultimately proves is that Cruise is still dependable as an all-American action hero. He’s still got it, folks, and it sure is nice to see him back in the thick of the summer movie season.
by Steve Habrat
After seeing the slow burner that was Ridley Scott’s 1979 Alien, you would never in a million years expect the follow up would be a breakneck action-thriller that refuses to let up. James Cameron’s Aliens is just that breakneck action-thriller, one that flaunts grand industrial style, chest-bursting thrills, and enough explosions that would make Michael Bay envious. Taking the world that was briefly seen in Alien, Cameron cleverly elaborates on Scott’s vision and delivers a world full of corrupt corporations, billowing doom, sleeveless masculinity, and hair-raising maternal protection (Both Ripley and the Queen!), all while strapping us in and sending us on a stomach dropping roller-coaster ride. Watch out, because you may get splashed with acidic alien blood! The true beauty of Aliens lies in the fact that, while most sequels resort to over-explaining everything, Cameron doesn’t explain, he just expertly expands the scope to give us a bit more breathing room.
Aliens begins with the rescue of Ellen Ripley (Played by Sigourney Weaver), who is the only survivor of a horrific alien attack that left the rest of the crew of the space freighter Nostromo dead. Ripley goes before the board of her employer, the Weyland-Yutani Corporation, and explains what attacked the Nostromo crew. Her story is dismissed and as a result, she looses her space-flight license. To her horror, she learns that the planetoid that housed the strange ship and alien eggs is now home to a terraforming colony. After contact is lost with the colony, Weyland-Yutani representative Carter Burke (Played by Paul Reiser) and Lieutenant Gorman (Played by William Hope) approach Ripley about accompanying a unit of marines to investigate what has happened to the colonists. They tell her that if she agrees to accompany the marines and act as a consultant, they will allow her to have her flight license back. After finding the colony abandoned, the marines begin to search a nuclear-powered atmosphere processing station, where they believe the colonists are taking refuge. As their investigation continues, the marines begin making horrific discoveries within the station and soon find themselves getting attacked by seemingly endless hordes of bloodthirsty aliens.
Unlike Scott’s 1979 film, Cameron’s film isn’t as sly with its intellectual undertones and it quickly calls attention to aspects that should have been left to us to figure out. Aliens makes it very clear that the film is interested in ideas about motherhood and protection of a mother’s young. Ripley has to assume the role of mother and protector to a young girl who calls herself Newt (Played by Carrie Henn). I wish Cameron wouldn’t have thrown this aspect of Aliens in our face but sadly, he does. Early on, Newt begins calling Ripley mother and the two share an emotional scene where Ripley talks about a daughter she lost and then instantly claims Newt as her new daughter. Cameron also calls quite a bit of attention to the gender roles within the film, mostly playing with the idea of the tough guy marine who is all talk when nothing is happening but is revealed to be a coward when things get nice and violent. It is especially apparent in Hudson (Played by Bill Paxton), a mouthy marine who likes to talk big but is revealed to be a coward when attacked by the aliens. His character does begin to come around near the end, but he remains far from the hard ass he portrayed when we first meet him.
Cameron’s Aliens benefits from strong acting, mostly from Weaver, who ended up with an Academy Award nomination for Best Actress for her work in this film. While Ripley doesn’t really reveal too much new about herself, her descent into protector is undeniably compelling. She is the toughest of all the flexing bad-asses around her. Her end confrontation with the Queen alien has to rank as one of the best movie showdowns of all time. She also gets one of the best one liners that science fiction has to offer: “Get away from her, you BITCH!” She is still the teeth-gritting feminist hero that she became in Scott’s Alien and here, she comes equipped with a bigger gun and flamethrower. While Ripley is all business 90% of the time, her quieter moments really resonated with me, especially when her eyes show a brief flash of a broken heart, one that I have to assume has made her the tough gal that she is.
As far as everyone else is concerned, Reiser is perfectly slimy as the corrupt Weyland-Yutani representative who has little regard for the human life around him. Michael Biehn punches in a perfectly measured macho role as Corporal Dwayne Hicks, who growls all of his dialogue but does reveal moments of vulnerability. I have to say that next to Ripley, Hicks has to be my other favorite character in Aliens. The young Henn wins us over as the adorable Newt, who salutes Hicks when he gives orders and quickly clings to Ripley. Lance Henrikson shows up as the android executive officer Bishop who has a hard time earning Ripley’s trust. Jenette Goldstein is another tough cookie as “smart gun” operator Private Jenette Vasquez, who shows just as much strength as Ripley. Paxton’s Hudson is the only character that I find slightly irritating and the one who gets the some of the worst dialogue in the film.
Aliens turns out to posses a large amount of the tension that made Alien such an prickly experience but it happens to be woven into white-knuckle action scenes. However, I wouldn’t be quick to call Aliens a horror movie, as there is more of an emphasis on action rather than scares. For all its palpable moments, Cameron still serves up a lean storyline that locks us in its icy grip for all two and a half hours. Cameron also offers up some heart-stopping sequences that are classic cinema moments as far as I’m concerned. I absolutely love the final fifteen minutes of the beastly thrill ride. I also have to say I am a fan of the marine’s first encounter with the aliens (shown through grainy camera footage shot by one of the marines) and a scene in which Ripley, Hudson, Hicks, Burke, Vasquez, and Newt await a slew of chomping aliens to attack will have your stomach doing somersaults. The downside to all of this is the fact that Aliens just isn’t as bright as Scott’s Alien, but you will be willing to forgive because Cameron does try his best to make this an intellectually rewarding experience in its own way. Practicing some remarkable discipline in the action department while also giving us exactly what we want, Cameron’s Aliens smartly builds upon Scott’s classic while leaving its own fingerprint on the Alien franchise.
Aliens is available on Blu-ray and DVD.