A ferry filled with crewmen from the USS Nimitz and their families was blown up in New Orleans on Mardi Gras. BATF Doug Carlin is brought in to assist in the massive investigation, and gets attached to an experimental FBI surveillance unit, one that uses spacefolding technology to directly look back a little over four days into the past. While tracking down the bomber, Carlin gets an idea in his head: could they use the device to actually travel back in time and not only prevent the bombing but also the murder of a local woman whose truck was used in the bombing? —IMDb
Tony Scott was a British-born film director and producer. He was the youngest of three brothers, one of whom is fellow film director Ridley Scott. He was born in North Shields, Northumberland, England to parents Jean and Colonel Francis Percy Scott. As a result of his father’s career in the British military, his family moved around a lot. Their mother loved the going to the movies and instilled a love of cinema in her children.
While still a teenager, producer and director Tony Scott made his first foray into film with an appearance in his big brother Ridley Scott’s first short film, Boy and Bicycle. He later attended London’s Royal College of Art, as did his brother, and proceeded to get his feet wet behind the camera, at first by directing TV commercials for his brother’s production company Ridley Scott Associates. He became a leader in the British commercial industry, directing countless ads and building up an impressive resumé over the years. By the early ‘80s, Tony Scott… read more
The action scenes in this were kind of cool - the explosions were huge, and they looked real. The time travel plot is horrible in a "it seriously doesn't make sense" way, but overall, the movie kept my attention. Could've been a modern classic if they made the plot fit together properly.
I enjoyed revisiting this film on Blu-ray but the way I feel about "Deja Vu" now is the same way I felt in theaters back in 2006: Tony Scott remains, as ever, a master stylist but this screenplay does not play to his strengths. There's a solid 40 minutes smackdab in the middle of this movie that literally consists of Denzel Washington and a bunch of 'tech geeks' sitting and talking in a hi-tech surveillance room. With so much of the second act eaten up by exposition and time travel technobabble, there is little time to develop the truly interesting plot threads, such as Denzel's De Palma-ian obsession with Paula Patton or Jim Caviezel's sense that someone is altering the time stream. Still, Tony Scott nails it with that deliriously fun Hummer chase, bringing the film's heady sci-fi concepts down to earth in a visceral way.
The great Nagisa Oshima has passed away, Senses of CInema has a new World Poll, David Bordwell on the evolving cinema of 1908-1920, & more.
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.
Movement 4B in a critical exquisite corpse project analyzing films by Tony Scott. This entry focuses on Déjà Vu (2006).
An exquisite corpse-style critical project on the films of Tony Scott featuring twenty critics and twenty scene analyses.
One “movement” in our exquisite corpse-style critical project on Tony Scott. Each movement features ten critics and ten scene analyses.
This December in New York, a program of three Tony Scott films paired with avant-garde shorts and one B-noir. All shown on film!
On the late great.
Incredible color in the early autopsy sequence in Tony Scott’s New Orleans-set riff on Vertigo.
Our continuing series on the power of the reverse shot. Tony Scott’s Déjà Vu riffs off of Hitchcock’s Vertigo with the latest tech.
F.T. Marinetti and Paul Virilio walk into a bar, which turns out to be the set of a Michael Bay movie and it explodes. No one is hurt. PG-13