Cruising Altitude: the high-flying escapades of Tom Cruise

For inSing

Cruising altitude: the high-flying escapades of Tom Cruise

Tom Cruise plays a pilot in American Made – here are five other times planes and other flying machines have figured in his movies

By Jedd Jong

The story of pilot Barry Seal is one that’s stranger than fiction: Seal went from being a commercial pilot for TWA to becoming a drug courier for the Medellín Cartel, a gunrunner for the Contras and the CIA, and a DEA informant. In the biopic American Made, Seal is played by Tom Cruise, and it’s easy to believe that Cruise can smirk and wink his way out of any sticky situation. Seal makes various daring take-offs from remote Colombian jungles, the underbelly of his cocaine-laden plane scraping the tree tops. One of the film’s most memorable scenes features Seal crash-landing on a residential street after he’s pursued by the DEA, tumbling out of his plane covered in cocaine, handing a bundle of cash to a bewildered kid and escaping on said kid’s bicycle.

Cruise is a certified pilot in real life, and owns a collection of planes including a WWII-era P-51 Mustang. The actor has built a reputation for doing more of his own stunts than any insurance company would be comfortable with, and he pulled off yet another hair-raising feat in American Made. Not only did Cruise do some of his own flying in the film, he left the cockpit with no one else in the plane for scenes in which Seal had to dump cocaine out the back of the plane. Director Doug Liman, who was flying alongside Cruise in a helicopter shooting the scene, was both terrified and thrilled by the commitment displayed by his leading man. “It’s one thing to have Tom Cruise alone in the airplane flying it — that’s already outrageous — now he’s alone and he’s not even in the cockpit so he’s gone beyond,” Liman said. “It was already a stunt before he left the cockpit, it was already a serious stunt.”

Before you watch Cruise wing it in American Made, here are five other times he’s been in the pilot’s seat – or somewhere less safe – on a plane or other flying vehicle in his movie career.

#1: MISSION: IMPOSSIBLE – ROGUE NATION

The Mission: Impossible movie franchise has become synonymous with crazy Cruise stunts. 2015’s Mission: Impossible – Rogue Nation opens with a death-defying feat: Cruise’s Ethan Hunt clings onto the exterior of an Airbus 400 as it takes off from a runway. This sequence became one of the film’s major selling points, featuring heavily in billboard and banner advertising. “There’s no digital Tom, and there’s no fake plane. He’s really strapped to an Airbus,” Director of Photography Robert Elswit declared. The stunt team did tests with a dummy, then with a stunt double, before letting Cruise do the stunt himself. Cruise was strapped into a harness that was wired to the plane through its door, and the runway was carefully cleared of rocks and other debris. “When he wants to do something, he’ll figure out a way to do it,” Elswit said of Cruise, describing him as “the most obsessive artist.” “If it couldn’t actually be Tom on the plane, I think he wouldn’t want the sequence in the movie,” Elswit remarked.

#2: OBLIVION

In the post-apocalyptic sci-fi thriller Oblivion, Cruise plays the last man on earth – or so he thinks. It is Jack Harper’s job to repair drones that are attacked by alien scavengers, or ‘scavs’, and he routinely patrols his sector in a gleaming high-tech craft called the Bubbleship. The craft resembles a dragonfly and is inspired by the Bell 47 helicopter. The film features a dogfight during which Jack is pursued in his Bubbleship by hostile drones, with the mysterious Julia Rusakova (Olga Kurylenko) seated beside him. Production designer Darren Gilford and his team built a life-sized Bubbleship. Cruise visited the crew in the workshop while they were constructing the Bubbleship, and had input on design elements like the foot pedals and controls, so operating the craft would look natural. “It’s so beautifully designed. Every piece of it was just smooth and elegant,” Cruise said. A cockpit-only version of the Bubbleship was built to be mounted on a gimbal, which would spin around against a bluescreen backdrop like a souped-up theme park ride. Being a pilot himself, Cruise had no problems with sitting in the rig, but his co-star Kurylenko had never been in a gimbal and was nervous about it. “Olga will tell you today she wasn’t scared. She was scared,” Cruise quipped.

“The Bubbleship is a beautiful creation when it’s just standing on the ground, but you don’t want to be in there when it’s flipping around!” Kurylenko said. “In the end I liked it, I have to admit. But don’t tell anyone, I pretended like I didn’t,” she laughed.

#3: THE MUMMY

Universal Studios’ revival of its classic movie monsters in ‘cinematic universe’ form, the Dark Universe, got off to a rocky start with The Mummy. Industry watchers speculated that the film’s failure was due at least in part to Cruise’s “excessive control” over the production. Cruise reportedly personally commissioned screenwriters to fashion the project into more of a star vehicle for himself, reducing the screen time of the titular character, Sofia Boutella’s Ahmanet. The film features a big Mission: Impossible-style stunt: the crash of a military transport plane carrying Ahmanet’s sarcophagus. The production hired a zero-gravity plane from the French space agency NoveSpace, converting its interior to resemble a military transport plane. The plane would fly in parabolic arcs, resulting in brief periods of weightlessness. Cruise, co-star Annabelle Wallis and the crew all floated in zero-G to capture the scene. “We had to prepare as best we could, but then we don’t quite know exactly what’s going to happen,” Cruise said. “We wanted it to be wild and violent and spontaneous for an audience,” he explained. “They’re just seeing it happening in real time. There’s no edit, it’s there.”

#4: EDGE OF TOMORROW

Cruise first collaborated with his American Made director Liman on the sci-fi action flick Edge of Tomorrow, based on Hiroshi Sakurazaka’s light novel All You Need is Kill. A loving ode to military science fiction mainstays such as Starship Troopers and Aliens with a Groundhog Day time loop folded in, Edge of Tomorrow features futuristic weapons and gadgets, including powered mech suits and Quadcopters. The Quadcopters are the conveyance from which troops are deployed onto the battlefield, and resemble the Bell Boeing Quad TiltRotor. “[Production designer] Oliver Scholl came up with this great idea of this dropship, this futuristic aircraft where the soldiers in their exo-suits would be locked in like human ordnance, and they just drop you,” Liman explained. “That seemed so terrifying and would be a really great thing for Tom Cruise’s character to have to experience.”

Being suspended from the rack inside the Quadcopter might not have been the most dangerous stunt Cruise had ever executed, but it wasn’t necessarily pleasant. “Being inside that dropship, we’re like canned tuna, basically,” Cruise recalled. “I have to say, those days we’re all in there, as actors you’re just hanging in an uncomfortable way for many, many hours.”

#5: TOP GUN

Playing a pilot launched Cruise to superstardom, and 1986’s Top Gun remains one of his best-known films. Most of us might regard the film as 80s kitsch, but in 2015, the United States Library of Congress selected it for preservation in the National Film Registry. The film was inspired by an article in California magazine about the U.S. Navy Fighter Weapons school, colloquially known as ‘Top Gun’. Mega-producers Jerry Bruckheimer and Don Simpson hired the late director Tony Scott on the basis of his commercial for Saab, which featured a fighter jet. Bruckheimer and Simpson pursued Cruise for the lead role of Pete “Maverick” Mitchell, but Cruise wouldn’t commit even as he received updated drafts of the script. Bruckheimer arranged for Cruise to take a flight with the U.S. Navy’s famous Blue Angels aerobatics team, in the hopes that this would convince Cruise to accept the role. Cruise had just finished filming Ridley Scott’s Legend and still had a long ponytail, so the pilots thought he was a hippie and figured they’d have some fun by flying Cruise upside-down and at three to four G Forces. Cruise was unfazed, and Bruckheimer’s gambit paid off – Cruise hopped off the plane, went to the nearest phone booth and called Bruckheimer to say he was in. The long-awaited sequel is finally coming to fruition – Top Gun: Maverick is due in 2019, reuniting Cruise with Oblivion director Joseph Kosinski.

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American Made

For F*** Magazine

AMERICAN MADE 

Director : Doug Liman
Cast : Tom Cruise, Sarah Wright Olsen, Domhnall Gleeson, Jayma Mays, Jesse Plemons, Lola Kirke, Lara Grice, Jed Rees, Caleb Landry Jones
Genre : Biopic/Comedy/Thriller
Run Time : 1h 55m
Opens : 31 August 2017
Rating : M18 (Sexual Scene And Coarse Language)

As the star of the Mission: Impossible franchise, Tom Cruise has performed many daring stunts. In American Made, he plays someone who, by his own admission, leaps before he looks. It is 1978, and TWA pilot Barry Seal (Cruise) is recruited by CIA operative Schaefer (Gleeson) to take surveillance photos of communist rebels in South America. Soon, Seal is tasked with supplying the Nicaraguan Contras with American-supplied arms. Seal is also hired by the Medellín Cartel, transporting shipments of cocaine from Colombia and Panama to the United States. Seal’s wife Lucy (Wright Olsen) and their young children relocate from Baton Rouge, Louisiana to Mena, Arkansas. Mena Intermountain Municipal Airport becomes the base of operations for Seal’s burgeoning concern, as Seal rakes in the cash and evades the long arm of the law by becoming a DEA informant and operative. As a player in a game with dizzyingly high stakes, it will take all of Seal’s wits to keep him from crashing and burning.

American Made reteams Cruise with his Edge of Tomorrow director Doug Liman, who crafts a free-wheeling retro comedy thriller which is as engaging as it is entertaining. This is based on a true story, and you might know the name ‘Barry Seal’ from films and TV shows like Doublecrossed, The Infiltrator and Narcos. American Made certainly feels like the ‘Hollywood version’ of Seal’s story: despite the twists and turns, the narrative is so straightforward as to feel simplified and streamlined to keep things moving along. This is to say nothing of the fact that Cruise doesn’t resemble the real-life Barry Seal, who was pudgy and balding, in the slightest.

However, the way the film is assembled and the way screenwriter Gary Spinelli structures the plot, it’s easy to get swept up in the proceedings. Much of the comedy is derived from the inherent absurdity of the situations that Seal gets caught up in, and the film open acknowledges how crazy everything is without coming off as too flippant. It’s comparable in tone to 1990’s Air America, which starred Robert Downey Jr. and Mel Gibson as unwitting drug smuggling pilots during the Vietnam War.

Liman has considerable fun with the film’s style: the opening Universal Studios logo is interrupted by the old-school logo from the 70s, and the other production companies get retro-fied logos too. Uruguayan cinematographer César Charlone of City of God fame provides a mix of slick sweeping aerial shots and 70s-style handheld closeups, with the heat of the South American jungles radiating off the screen. The plane pursuit sequences are realistic and hair-raising, but came at a cost. Tragically, stunt pilot Alan D. Purwin and his Venezuelan co-pilot, Carlos Berl, died in a crash caused by foggy weather near Medellin, Colombia.

Barry Seal was a cog in a much larger machine, but this film places him front and centre and the film is Cruise’s to carry the whole way. The embarrassing dud that was this year’s reboot of The Mummy made some feel that Cruise’s star power was starting to wane, but American Made sees him back in top form. As the morally ambiguous charming rogue who’s in over his head but loving it, the Seal character is right in Cruise’s wheelhouse.

Cruise eclipses everyone else in the movie, such that the supporting players barely make an impact. Gleeson affects a convincing American accent as CIA operative Schaefer, who registers as a cipher and a composite character of some kind. Wright Olsen is, as expected from films of this type, relegated to the role of ‘the wife’, fretting over her husband’s questionable activities but eager to enjoy the lifestyle that said activities fund. Caleb Landry Jones visibly enjoys playing Lucy’s troublemaking, ne’er-do-well brother, whose sloppiness puts Seal in danger of being found out. It all revolves around Cruise and the other characters seem incidental, reinforcing the ideal of Seal as a mythic antihero around whom other forces revolve. It’s fine because Cruise’s performance more than anchors the film, but it does remind us that we’re watching a movie, detracting some authenticity from the real story.

American Made is a movie that’s powered by Cruise’s megawatt grin. Because it’s pitched as a comedy, the murky morality never becomes something audiences will think too deeply about. We’re invited to join the antihero on the ride of his life, and Liman spins an engrossing, invigorating yarn. With Cruise in the cockpit, this ride is an eminently enjoyable one.

Summary: A high-spirited biopic that packs in the laughs and thrills, American Made doesn’t delve deeply enough into the political intrigue to be very substantive, but it’s an entertaining, well-made Tom Cruise vehicle all the same.

RATING: 3.5 out of 5 Stars

Jedd Jong

Jack Reacher: Never Go Back

For F*** Magazine

JACK REACHER: NEVER GO BACK

Director : Edward Zwick
Cast : Tom Cruise, Cobie Smulders, Danika Yarosh, Austin Hebert, Patrick Heusinger, Aldis Hodge, Robert Knepper, Holt McCallany
Genre : Action/Thriller
Run Time : 1h 58min
Opens : 20 October 2016
Rating : NC-16 (Violence)

jack-reacher-never-go-back-posterEnigmatic loner Jack Reacher (Cruise) is drifting back into theatres in this sequel to the 2012 action thriller. Reacher has been in contact with Major Susan Turner (Smulders), the commanding officer of his former Military Police unit. Turner has been assisting Reacher with cases across the country, and they’re finally about to meet face-to-face. When Reacher arrives in Washington, D.C., he discovers that Turner has been framed for espionage, after two of her men die in Afghanistan under mysterious circumstances. In the meantime, Reacher learns that a 15-year-old girl named Samantha (Yarosh) may or may not be his long-lost daughter. Reacher, Turner and Samantha go on the run, pursued by Captain Espin (Hodge) of the Military Police and a deadly mercenary known only as ‘the Hunter’(Heusinger). The Hunter reports to former general James Harkness (Knepper), who runs the private military firm Para Source, and who will stop at nothing to prevent the firm’s illegal activities from being exposed.

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Never Go Back is based on the 18th book in Lee Childs’ Jack Reacher series. Fans of the novels cried foul over Cruise’s casting: was there no one more suited to playing the gruff, blonde, 240 lb, 6’5” bruiser? Anyone who was dead set against Cruise as Reacher the first time will likely be unconvinced this time around. Replacing Christopher McQuarrie, the first film’s director, is Edward Zwick, who previously directed Cruise in The Last Samurai. This is solid, meat-and-potatoes action thriller stuff, layered with military procedure that’s mildly compelling at best. We do get some satisfyingly crunchy hand-to-hand fights and a tense foot chase set against a Halloween parade in New Orleans, but nobody’s intent on reinventing the wheel here. Things keep moving at a nice clip, but when the villains’ scheme is finally revealed, it’s rather underwhelming.

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While the action thriller beats are mostly generic, the character dynamics in Never Go Back shake things up a little. Reacher, Turner and Samantha are thrown together as an ad-hoc family unit: the strong silent type, the woman in charge and the moody teenager. Zwick finds just the right pitch such that the film has its intense, violent moments, but there’s also room for humour. The result is a movie that isn’t as downbeat and self-serious as it could’ve been, this lighter approach helping to offset the humdrum predictability of the main plot. There’s also a bit of a light shone on the plight of veterans who end up homeless or drug addicts after returning from combat abroad. Not an in-depth exploration of that serious topic by any means, but a glimpse of sobering reality in a largely inconsequential genre piece.

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There’s not too much to say about Cruise’s portrayal of Reacher because he never really becomes the character, he’s just Tom Cruise: action star. That’s not entirely a bad thing, because Tom Cruise the action star brings with him the charisma, confidence and physicality we’ve come to expect. At 54, he seems to be sprinting as fast as ever. It’s just that as portrayed in this and the previous Jack Reacher film, our hero is altogether too close to Ethan Hunt, Cruise’s character from the Mission: Impossible film series, when Reacher as described in the books should arguably be a little older and more wizened.

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If there’s one revelation out of this film, it’s that Smulders should totally be headlining more action flicks. In Never Go Back, she gets to kick significantly more ass than she has as Maria Hill in the Marvel Cinematic Universe so far. Turner uses a meat mallet and a garden hose as combat implements; Smulders acquitting herself well in the action scenes. She’s a performer with an innate likeability, and because Smulders isn’t as unyielding and severe as the stereotypical image of military woman is, it helps make Turner more of a well-rounded character. There’s a bit of a screwball back-and-forth between Turner and Reacher, and at no point does Turner come off as the designated love interest. This is something that we should be seeing more often in action thrillers.

Yarosh’s Samantha is the annoying tagalong kid through and through, but the character’s rough upbringing does earn her a bit of slack. It’s a role that would’ve been played by Kristen Stewart ten or so years ago. Hodge’s Espin, the guy whose job it is to pursue our protagonists but is just following orders, could’ve been plenty boring, but Hodge does bring the right amount of liveliness to the part.

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Never Go Back does suffer in the villain department: private military contractor bad guys are, by now, pretty old hat. Heusinger’s Terminator-esque assassin, sporting scary black gloves, is occasionally frightening but lacks truly formidable presence. Harkness, the general-turned-PMC boss, is a typical Robert Knepper character, which is to say, slimy and shady. Alas, he’s far from a match for Werner Herzog, who made quite the impact as The Zec in the first film in spite of his limited screen time.

Jack Reacher: Never Go Back is unambitious but never unwatchable. While Cruise’s talents were certainly put to better use in last year’s Mission: Impossible – Rogue Nation, it’s great seeing Smulders in action heroine mode, more than holding her own opposite a star of Cruise’s wattage.

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Summary: You’ve seen the military procedural stuff done better on TV, but a good number of action sequences and the somewhat unconventional action hero pairing of Tom Cruise and Cobie Smulders make this worthwhile.

RATING: 3.5 out of 5 Stars

Jedd Jong

Mission: Impossible – Rogue Nation

For F*** Magazine

MISSION: IMPOSSIBLE – ROGUE NATION

Director : Christopher McQuarrie
Cast : Tom Cruise, Jeremy Renner, Simon Pegg, Rebecca Ferguson, Ving Rhames, Sean Harris, Alec Baldwin, Zhang Jingchu
Run Time : 132 mins
Opens : 30 July 2015
Rating : PG13 (Violence And Brief Nudity)

These days, it seems that every year is the “year of the superhero” at the multiplex. From Kingsman: The Secret Service to Spy to The Man from U.N.C.L.E. and Spectre – not forgetting the fifth instalment in the Mission: Impossible film series – 2015 is well and truly the “year of the spy”. 

Here, we find CIA director Hunley (Baldwin) disbanding the Impossible Missions Force (IMF), leaving our heroes Ethan Hunt (Cruise), William Brandt (Renner), Benji Dunn (Pegg) and Luther Stickell (Rhames) in the lurch. Ethan crosses paths with the enigmatic Ilsa Faust (Ferguson), supposedly an MI6 agent deep undercover. Ethan uncovers evidence of the Syndicate, a “rogue nation” comprised of secret agents thought to be dead, the dirty underbelly of the dirty underbelly. With the treacherous Solomon Lane (Harris) in charge, The Syndicate’s tendrils reach far and deep. Pressed on all sides and with dangerous enemies in pursuit, Ethan and his associates embark on their most crucial mission yet.

In an age where hype counts a great deal, Mission: Impossible – Rogue Nation has not been hyped as much as other summer blockbusters. It also faces heady competition at the cinemas this year – Paramount shifted the film up from a Christmas release date to late July to avoid facing Bond film Spectre head-on. Helmed by Jack Reacher director Christopher McQuarrie, Rogue Nation proves the franchise has wind in its sails yet. This film series is unique in that there have been five different directors over five films, counting this one. McQuarrie manages to quickly find his footing, acknowledging the events of the previous film, tying it all together quite nicely (though there’s curiously no mention of Ethan’s wife). This is an exhilarating, superbly constructed action thriller, a palpable affection for and understanding of the genre evident throughout. 


          Structurally, perhaps it is a misstep to pile all the action set-pieces on to the front end of the picture, meaning the pace lags a little as the film nears its conclusion. That said, the set-pieces are uniformly marvelous, so credit to stunt coordinator Wade Eastwood and second unit director Gregg Smrz is due. Right out the gate, McQuarrie and star/producer Cruise show they mean business with an opening sequence in which Ethan clings precariously to the exterior of an Airbus A400 M, a stunt Cruise performed for real. The film doesn’t feature globetrotting so much as “globe-galloping” – From Belarus to Austria to Morocco in addition to the United Kingdom and the United States, the exotic locations and the scale of the film lend it a very appealing throwback quality to the heyday of spy-fi. The scene in which Ethan grapples with a Syndicate operative in the rafters of the Vienna Opera House while Puccini’s Turandot is in progress on the stage below is pure class. A white-knuckle sequence with Ethan swimming into an underwater data storage facility called the “Taurus” while holding his breath the whole time is strikingly unique, adding a futuristic touch that makes it seem as if Cruise has temporarily stepped back into Minority Report. There’s also the motorcycle chase that’s far less silly than the one in M:I II. All this is wrapped in Joe Kraemer’s electrifying musical score, which weaves in both the iconic Lalo Schiffrin M:I theme and Nessun Dorma

           His peculiar personal proclivities notwithstanding, Cruise has held his own as a megastar for decades while others have come and gone. From the moment he enters the movie – sprinting, of course – the 53-year-old shows no signs of slowing down whatsoever. The charisma, intensity, spry athleticism, it’s all intact. Cruise has had several duds in recent years (the baffling sub-Mission: Impossible flick Knight and Day comes to mind) but with Rogue Nation, his trademark star vehicle franchise remains right on track. 

The Mission: Impossible television series from the 60s had an emphasis on teamwork. The movies have certainly been all about Cruise, but it is great to see the returning IMF members back in the field. This film gives Simon Pegg’s Benji in particular a meatier role – since the character’s introduction in the third movie, he’s gotten a nice upgrade from the designated techie comic relief, an evolution which continues ahead in this film. Ving Rhames’ Luther Stickell, this team’s original techie, is back as well. While Jeremy Renner has a little less to do, spending the first half of the film duking it out with Alec Baldwin in front of a senate oversight committee, he gets his moments to shine too. Speaking of Baldwin, it was a little difficult for this reviewer to see him as anything but Jack Donaghy in some spy movie-inspired fever dream of Liz Lemon’s on 30 Rock. In future movies, it would be great to see some of the female IMF agents return – Maggie Q and Paula Patton on the same team would be awesome! 

Swedish actress Rebecca Ferguson, best known for her leading role in period series The White Queen but otherwise not a big-name star just yet, was apparently hand-picked by Cruise to star in Rogue Nation. Her Ilsa Faust is meant to remain an enigma throughout, ostensibly an ally yet someone we are never sure whether or not to fully trust. There’s a femme fatale element she doesn’t overplay, as well as a sophistication and intelligence that Ferguson balances out the requisite sex appeal with. Still, she doesn’t quite stand out as strikingly as, say, Eva Green did in Casino Royale. We’ve seen villains like Sean Harris’ Solomon Lane many, many times in this genre – he’s the quietly menacing guy pulling the strings, playing everyone from a distance. It’s not an outstanding character, but he’s functional and his part in the grand scheme of things makes sense.

McQuarrie, who co-wrote the screenplay with Drew Pearce, weaves an intricate plot of gambits and double-crosses which the audience has to make a conscious effort to follow, but which stops a safe distance from being pointlessly convoluted. It harks back to a bygone era of stylish spy movies, but is also a straight-ahead contemporary thriller rather than self-reflexively playing with the tropes of the genre the way Kingsman and Spy do. The chases, shootouts, fisticuffs, daredevil Houdini escapes, ticking bomb suspense and Cruise’s unwavering star power – Rogue Nation has it all.

Summary: Carried by a propulsive momentum and packed with meticulously-assembled thrills, going Rogue has never been this entertaining.

RATING: 4 out of 5 Stars

Jedd Jong

Edge of Tomorrow

For F*** Magazine

EDGE OF TOMORROW

Director : Doug Liman
Cast : Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh
Genre : Action, Sci-Fi, Thriller
Opens : 6 June 2014
Rating : PG13

It’s like this: if at first you don’t succeed, try, try again. Major Bill Cage (Cruise) learns this the hard way, forced onto the frontlines against his will. In the near future, Europe has been invaded by a vicious alien species called the Mimics, and former ad man and PR guy Cage hasn’t the first clue how to fight them. He has no idea how to work his Jacket exo-suit and dies in battle, but reawakens, living the whole day over again. Over the course of several “tries”, he realises he is caught in a time loop, and seeks out the help of Rita Vrataski, a seasoned warrior nicknamed “The Angel of Verdun”. Through lots of trial and error and under the tutelage of Rita, Cage starts to get the hang of it, figuring out how to outwit the Mimics in the hopes of winning the war.



            It’s like this: at first glance, Edge of Tomorrow, based on the light novel All You Need Is Kill by Hiroshi Sakurazaka, looks pretty generic. Once you’ve seen one military sci-fi action alien invasion flick, you’ve seen them all, right? Director Doug Liman knows you’re thinking this, he knows his audience will be familiar with all the genre has to offer, and so he deconstructs the clichés and turns them on their heads. Despite superficial evidence to the contrary, Edge of Tomorrow is fresh and inventive, Liman and co. having unearthed new, exciting elements with which to elevate what could have been loud, dumb, derivative blockbuster fare. There’s a propulsive energy combined with just enough self-awareness, the screenplay by Christopher MacQuarrie with sibling team Jez and John-Henry Butterworth an unexpectedly humorous one.

            It’s like this: Edge of Tomorrow looks a lot more conventional than last year’s Tom Cruise-starring sci-fi action movie Oblivion, but it winds up being the more creative and entertaining of the two. We’ve seen soldiers in robotic exoskeleton suits in everything from G.I. Joe: The Rise of Cobra to District 9, so that’s not where Edge of Tomorrowstands out design-wise. The look of the Mimics is what gives this film the edge over other alien invasion films in recent memory. Remember how utterly bland the aliens looked in Battleship? Here, we have angry-looking bundles of spiky roots, lashing out and striking with alarming speed and ferocity. These are genuinely scary opponents that are a lot of fun to watch in action. The film’s central beachhead battle is also a refreshing change of locale from the city centres in which such wars are often fought in the movies. From a helicopter crash in a barn to a training arena in which spinning metal blades stand in for the Mimics, the action sequences are consistently terrific and eye-catching.

            It’s like this: Tom Cruise has remained a brand name A-lister for well over 20 years and once again proves why. Instead of being an invincible badass, his Bill Cage starts the movie as a vulnerable, unwilling fighter way out of his depth, someone who tries to charm his way out of combat duty but who is unable to. Just as it was satisfying seeing Bill Murray get better and better at playing the piano or ice carving with every successive February 2nd, it is satisfying seeing Bill Cage gradually grow into a skilled warrior. It seems Cruise has set some of his ego aside, allowing for several amusingly ignominious death scenes early on.

It’s like this: Emily Blunt isn’t who most moviegoers would pin as the next Sigourney Weaver, but darned if she doesn’t kick a whole lot of ass in this movie. The ever-versatile Blunt is able to sell not only Rita’s physical toughness, but her determination and steely demeanour as well. In the interplay between her and Cruise, the Romancing the Stone-style screwball comedy is kept to a suitable level, and the lengths he goes to in order to win her trust and respect are admirable. Bill Paxton does a funny, sly parody of “tough blowhard drill sergeant” types, and Squad J, the group of soldiers Cage is forced to join, are reminiscent of the Colonial Marines from Aliens in the best way possible.

            It’s like this: Edge of Tomorrow takes the time loop, what might be considered a tiresome gimmick, and uses it to give what would already have been a decent sci-fi action flick that extra something. It’s well-paced, it’s well-acted, the action and the spectacle is engaging and immersive and it’s just about the best use of 3D we’ve seen in a live-action feature this year thus far. This puts recent attempts at military-centric alien invasion movies like Battle: Los Angeles and the afore-mentioned Battleship to absolute shame. We didn’t quite expect Edge of Tomorrow to be this clever, this adrenaline-pumping and this much darn fun.
Summary: It’s like this: go see the most invigorating action sci-fi film in recent memory today rather than tomorrow.
RATING: 4.5 out of 5 Stars
Jedd Jong