Edge of Tomorrow
Edge of Tomorrow
Edge of Tomorrow
Regie:
Doug LimanKamera:
Dion BeebeBesetzung:
Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Tony Way (mehr)Streaming (5)
Inhalte(1)
Übermächtige Aliens erobern die Erde und führen einen unerbittlichen Vernichtungskrieg. Große Teile Europas sind bereits verloren. Zahlreiche Rekruten werden in Selbstmordkommandos in die Schlacht geschickt. Auch der unerfahrene Lt. Col. Bill Cage wird einberufen und stirbt wenige Minuten nach Beginn des Kampfeinsatzes. Da er mit einem Alien in Kontakt kommt, fällt er in eine Zeitschleife. Immer wieder erlebt er den Tag neu. Mit der taffen Kämpferin Rita Vrataski an seiner Seite ist dies die letzte Hoffnung der Menschheit. (ORF)
(mehr)Kritiken (14)
Am besten wäre es, nicht zu loben und keine großen Erwartungen zu wecken. Das Schlüsselschlagwort von Edge of Tomorrow ist auch keine Großartigkeit oder eine Action, wie man erwarten würde. Edge of Tomorrow ist dank dem Drehbuch ein Hit, welches das einfallsreichste unter den Blockbustern seit einer sehr langen Zeit ist. Und dank seinem Regisseur (Respekt!). Die Unterhaltung, die Dynamik und die Arbeit mit dem Publikum haben praktisch keine Fehler und der Film schneidet bei allen Aspekten perfekt ab. Von der Ausgewogenheit von Ernsthaftigkeit und Humor bei der Wahrnehmung der (visuell attraktiven) postapokalyptischen Welt, über das Fesseln der Aufmerksamkeit vom Publikum mit einem unvorhersehbaren sowie schnellen Plot und einer bombastischen und rasend servierten Action bis hin zu den Sympathien und dem zivilen Charakter der Figuren, was in einem anderen Blockbuster nebensächlich wäre. Cruise ist ausgezeichnet, die Figur von Emily Blunt muss man einfach lieben und die Chemie zwischen ihnen funktioniert ohne eine Andeutung vom romantischen Kitsch. In der Kategorie des verspielten postapokalyptischen Science-Fiction-Actionfilms ist es das gleiche Erlebnis wie der Film Children of Men in der Kategorie des nachdenklichen postapokalyptischen Science-Fiction-Dramas.
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Some of the information in this review goes beyond what you might want to know before seeing the film. Edge of Tomorrow is clearly the most expensive example of silly gameplay to come along in a long time and possibly the most popular film among Cruise’s detractors, because in no other film does Tom die so many times. With its bold combining of the poetics of both films and video games, it underestimates the difference in the elementary principles on which the cinematic and gaming experiences are based. We go back to games because of the possibility to become (through our avatars) stronger, faster and more agile and to improve these abilities through repeated playing. Films take the element of interactivity out of our identification with the character and deprive us of the feeling that we are the ones who are becoming more capable (though in a certain respect, every viewing of a film is also an interactive activity during which we improve our cognitive ability). Therefore, films should strive to flesh out the characters and to support our emotional connection to them by gradually doling out information. In short, a well-thought-out story and believable characters should have priority over the more immediate “motion and emotion”. In this respect, Edge of Tomorrow falls critically short. The story is just as one-dimensional and dully straightforward as in any given action video game. The characters don’t put much effort into finding a solution that doesn’t involve a lot of shooting and corpses. Though we get into the protagonist’s head on a number of occasions and see the world through his eyes (the very game-like scanning of the space), the film does not give us enough clues as to why we should root for him. Besides the fact that he is a coward who doesn’t want to fight, we learn almost nothing else about him. His vague characterisation corresponds to the requirement of “open” video-game characters onto which players can easily project themselves. (Emily “Full Metal“ Blunt thus portrays the formulaic beautiful action heroine whom every second nerd can platonically fall in love with – though she is outwardly stubborn, tough and indomitable, the increasingly capable hero takes her under his wing as expected and she is thus transformed into just another fragile love interest). However, what works in a video game comes across as screenwriting laziness in a film. The most pronounced transformation that the protagonist undergoes consists in the improvement of his physical skills rather than in the reassessment of his opinions on war, fatalism and other issues that lend themselves to the story. But particularly because of the special abilities that he possesses, we don’t have any reason to fear for him through most of the film (the screenplay certainly does not sufficiently exploit the potential of the situation when Cage was only seriously wounded but didn’t die). We can thus only be amused by the various ways he dies and how he embarrasses the other characters with the scope of his knowledge. Not even the narratively important fact that in some scenes he sees farther into the future than the viewer does (and is thus explicitly used as the narrator of the story, or rather as a player who makes it through to the next level) was elaborated beyond simple gags and affected gestures. Liman was ironically least influenced by video games in directing the action scenes, which contain three times more cuts than would be necessary, so they are at least three times less clear than they could have been. Edge of Tomorrow is an entertaining summer lark that graphically demonstrates how counterproductive an excessive yet poorly though-out attempt to combine film and video-game elements can be. Simple imitation is not enough and, at least in my case, leads especially to thoughts about how much more fun it would have been to just play the game. 70%
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Very well executed concept known from Groundhog Day, Source Code and probably every sci-fi series ever made. At the beginning, the hero is introduced without any heroic attributes and the pandemonium of war that follows during the landing in Normandy sets the bar very high. And it holds there damn long. Edge of Tomorrow only stumbles a little by the end, where the thus far relatively reaistic battles (to the extent than a battle between people in exoskeletons and giant tentacled aliens can be described as “realistic”) abandon the realism and now they are falling from huge heights without any injuries and the entire final fight goes too smoothly, especially considering how important it is and how it goes straight down to business. That said, it’s an excellent action sci-fi blockbuster of the kind that has been missing in cinemas for a long time. The action is spectacular, Cruise and Blunt have good chemistry and the script also has a couple of nice moments.
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This technological blockbuster, which in the long post-production process was given a coat by the special effects artists that models would die for, earns points mainly with the merciless thrill of the war. This war borrowed all over the place to wring out a surprisingly clever, pleasantly black-humored (headshots!) spectacle, which is only shattered by the skeleton's lack of a more driving conclusion to bring the film's entire video-game architecture to an absolute climax; otherwise, it's flawlessly acted, musically compelling, and directorially as confident as few in the genre in recent years. 4 ½.
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I’m fascinated that the American viewer (the sponsor of the American filmmaking industry) prefers a commercial mishmash called Transformers to an imaginative sci-fi called Edge of Tomorrow, where the name essentially does not reveal anything and the movie can only surprise. The Japanese are known for always having great storylines in their stories and comic books, and I’m glad that finally one of those got this kind of interpretation with Tom Cruise in the leading role. For me, he will probably always be the actor who has signed up for sci-fi movies. Considering he’s a Scientologist, I’m not even surprised that he makes such films. I’m actually very happy that he’s the one to do it, because it fits him the most. As a result, after watching the film, I thought hard about whether to give it five stars. I had a slight issue with the camera, which blurred my vision in a similar way a decent 5 km run can. But that is Doug Liman for you. However, if not for his directing, I might not have seen such an amazing change in Tom’s role. So I can only add that this film has its pros and cons, but even so, it is probably my favorite one from this year’s movies.
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Eine alter Schwede Meisterleistung, die lediglich ein intensiveres Finale vom fünften Stern trennt. Ansonsten ist dies ein erfinderisches Mashup aus Source Code, World Invasion: Battle Los Angeles, Und täglich grüßt das Murmeltier oder Der Soldat James Ryan mit einem immer besser werdenden Cruise sowie der Fullmentalbitch Emily Blunt. Edge of Tomorrow ist ein großartiger Evolutionsartikel als Verschmelzung von Spielen und Film. Das Modell des Ballerspiel-Checkpoints sowie der RPG für die Entfaltung von Kampf- und Sozialfertigkeiten des Hauptcharakters wird in demjenigen Moment einfallsreich belohnt, in welchem akut das Risiko eines Herabrutschen der Kette droht. Und sie wird nicht herunterfallen. Dies ist schlichtweg der beste Liman seit dem ersten Bourne (was nicht unbedingt ein Lob darstellen muss, oder?) und möglicherweise ist dies auch der Sci-Fi-Blockbuster der Saison. Einmal Reseten, bitte! [80%]
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Dark Souls? Aliens? Groundhog Day? Starship Troopers? Source Code? The Twilight Zone? Saving Private Ryan? All of the above (and not nearly just them) are clearly recognizable in this movie. Fundamentally, this has it all - almost - just a respectable and proper ending is missing. However, the mandatory blockbuster inoffensive finale is luckily preceded by a sufficiently playful and peculiar cocktail of the aforementioned ingredients and not just a mere distillation of what you have already seen countless times elsewhere.
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So what did I like? That there was a sense of Japanese sparseness in the narration and portrayal of the characters. The action/drama was subtly diluted with humor, or a little romance, but nothing that made you roll your eyes. I didn't see a single American flag, didn't hear the American national anthem, and there wasn't even anyone giving stupid patriotic obnoxiously cliched speeches about how important it was to man up and go out and fight and that we're going to show these aliens what for and blah blah blah. It just wasn't there, and I cheered. Plus the characters were portrayed as people, with their own problems, their own histories, so they weren't just flat characters with a gun in their hands and some catchphrase. But what I liked best was the interplay between Cruise and Blunt, just a joy to watch. Granted, it did lose momentum towards the end and it felt like the film was squeezing out the last drops (but maybe I was squeezing out the last drops because the theater was sweltering), but it ended well and I left very satisfied in the end. This is exactly the blockbuster I wanted – an unpretentious film, and yet it has an engaging story, a quality cast, a decent OST, and action that wasn't shot with a shaky camera, so the viewer could see something and enjoy it too. Nice, and I have no choice but to say – keep it up.
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A magnificently filmed entertaining summer sci-fi blockbuster about the war between human and alien civilizations, in which the most affected person is a failed advertising manager who is condemned by the war situation to the role of a military propagandist and an unmanageable conflict with his superior to the position of an ordinary soldier. He is most affected because his fate is not to die once and for all, as soldiers die in battles, but thanks to a time loop he experiences the same day over and over again with the same bungled battle, which ends in a horrifying massacre, and he repeatedly dies in the most painful and bizarre ways. The morbid concept, however, thanks to irony, black humor, exaggeration, likable cast, and detachment, is easily digestible, and when I think about it, I can't find a reason why it shouldn't have the highest rating out of the original 4 stars. Tom Cruise is in his element as a blockbuster hero, and by being a coward and a guy who wants anything but to save the world, he is more likable than usual. But yes, criticism of the illogicality of the initial situation and the whole story is certainly appropriate, but honestly, who would want to dissect inconsistencies in the playfulness with a time paradox in such a relaxing genre? Some scenes definitely remind me of The Matrix or related genre productions, but that's just the way it goes in the crowded world of cinema, and I certainly wouldn't accuse Liman of cheap plagiarism. Overall impression: 90%.
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Already a classic that you will gladly reach for when you’re feeling down. A great screenplay which borrows just enough, combines what we like from Aliens, Starship Trooper (more faithful to Heinlein’s book than the movie) or Groundhog Day. Amazing production design (reminds me of the Crysis videogame), it’s dirty as the sand on the beaches in Normandy (70th anniversary, hip-hip). Tom manages to get round both the yellow-bellied coward and the killer machine and Emily Blunt plays a tom-boy women’s hero in Ripley style, Paxton was pleasing. Clever, funny and mainly an entertaining blockbuster which suited me the most this season so far. Get up, you worm!
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Edge of Tomorrow helped me realize how visually and aesthetically groundbreaking and pioneering The Matrix was because even after approximately 10 years, it is still a huge inspiration and technically only advanced in the details, though it’s worth noting that the action in The Matrix seemed even better and more clear to me, even though it was much more "über fucking cool" in terms of effects and much more flashy. Edge of Tomorrow is more in the style of Saving Private Ryan, where they try to play with authenticity and rawness within the limits of sci-fi. Where it stands out, however, is in the great screenplay and timing of individual scenes – there hasn’t been something so original in a very long time. The way they deal with repeating sequences without boring the audience and making the whole seem repetitive (even though logically it should be) is also commendable. Tom Cruise gets better with age and the chemistry between him and Emily Blunt is excellent. The film will not be in history textbooks like the aforementioned trilogy, as it is not grand enough and is not taken on a wide and comprehensive enough scale. But it could easily handle being the action sci-fi film of the year.
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Es ist ein bisschen schade, dass dieser Film, der von Anfang an unglaublich einfallsreich, dynamisch, witzig und fesselnd war, in den letzten Minuten zu einem weiteren klischeehaften Streifen mit allem, was zum Hollywood-Popcorn gehört, wurde. Für dieses Finale gebe ich also einen Stern weniger. Sonst hat aber Edge of Tomorrow nur Vorzüge. Angefangen von Tom Cruise bis hin zu der fantastischen technischen Seite. Es würde lange dauern, wenn ich jetzt alles aufzählen sollte, wovon ich begeistert war. Falls Sie aber in Ihrem Leben auch nur ein einziges Videospiel gespielt haben, bei dem Sie endlos mit einem schwierigen Level gekämpft haben (z. B. D-Day in Medal of Honor), wird Sie der Film nicht enttäuschen. PS: Erst jetzt wurde mir bewusst, dass ich mir Edge of Tomorrow einen Tag vor dem 70. Jahrestag des D-Days angeschaut habe.
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Nach zwei hervorragenden Filmerlebnissen beim Filmmarathon in Turnov begann ein steiler Fall in eine Schlucht aus Langeweile, Dummheit und Verderben. Tom Cruise ist schon einige Jahre in meiner TOP 5, doch dahin gehört er vor allem wegen Vanilla Sky, Eyes Wide Shut oder Geboren am 4. Juli. Ich stelle fest, dass ich wohl, wenn er mitspielt, auf das Genre Science Fiction verzichten muss, denn nach dem schrecklichen Krieg der Welten hat er mich auch in dem von allen Seiten gelobten Edge of Tomorrow enttäuscht. Das zum Teufel sollte das denn sein? Ein Versuch einer pseudophilosophischen Science Fiction, die den Effekt einer Zeitschleife nutzt? Als die Zeit zum dritten Mal zurückgespult wurde, sehnte ich das Ende herbei, bis zu dem ich erfolgreich ausharrte. Für mich die größte unangenehme Überraschung dieses Jahres. Und was habe ich darüber für Festrezensionen gelesen. Nein, danke. Tom, rück am besten schnell mit Mission: Impossible - Rogue Nation raus.
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At the beginning, the movie is a bit tiresome with how the individual scenes constantly repeat, and you don't feel like the plot is progressing anywhere, but the film can't be denied that it has its own logic which works quite well. Furthermore, it also works in the end, which could otherwise seem sentimental. Tom Cruise is still a great action star for me and he proves it once again here.
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