Deja Vu
Brilliant is not a word typically associated with Jerry Bruckheimer productions, although the producer’s films can be- at their best- the most entertaining around. Think “Top Gun,” “Crimson Tide,” “The Rock,” “Con Air,” “Enemy of the State,” “Remember the Titans,” “National Treasure,” and the two “Pirates of the Caribbean” epics. All of them are safe entertainments that appeal to the masses. One that stands apart from this list is Ridley Scott’s “Black Hawk Down,” a rare case of Bruckheimer throwing his producing weight behind an established and acclaimed director he didn’t help shape and groom into a major player. To call it one of the best war films of all-time is not an understatement.
For “Deja Vu,” the producer reunites with the most accomplished and successful member of his directing stable- Ridley’s brother Tony- and one of his most frequent stars- 2-time Oscar winner Denzel Washington, who last collaborated with both Bruckheimer and Scott on “Crimson Tide” (though he’s worked with both separately since- Bruck on “Titans” and Scott on “Man on Fire”). The result is a brilliant entertainment. We’re not talking Oscar fodder, just to be clear, but it’s a truly exceptional entertainment that’s among all three’s best work. Intriguing and original in the treatment of its’ premise, “Deja Vu” allows Bruckheimer to flex his producing muscles by filming the thriller in post-Katrina New Orleans, Scott to mature his information overload style into plainly the best way to tell the story (unlike “Fire”- which devolved into formula after a brilliant opening- or “Domino,” which just made the head hurt), and Washington to once again dig into the type of tough, thoughtful, and intelligent man-of-action archetype he’s elevated into an artform (this makes him two-for-two this year following Spike Lee’s “Inside Man”). Propelled by an ace action score by Harry Gregson-Williams, tightly-paced editing by Chris Lebenzon (you don’t feel a second of the 126 minute runtime), and adventurously shot by Paul Cameron, “Deja Vu” is anything but as a movie.
The story begins with an explosion aboard a ferry in the N.O. harbor. Over 500 people lose their lives in the blast, including several navymen coming home during Mardi Gras. In to investigate in ATF agent Doug Carlin (Washington), who has a knack for finding the meaning behind the clues. As he’s investigating the ferry, he gets a call about the body of a young woman found not far from the blast site. Injuries coincide with the blast, but the body was found minutes before. The mystery of her death leads Doug down a wormhole- in more ways than one- when he’s recruited by a shadowy government operation (led by a lively Val Kilmer) who may hold the key to solving- and maybe stopping- both crimes.
Let’s get one thing straight- not all the pieces match up. In fact, don’t be surprised if you can’t make a lick of sense out of the crafty and clever-by-half screenplay by Bill Marsilii and Bruck’s “Pirates” co-writer Terry Rossio. Like I said, it’s not Oscar-fodder- this is popcorn fodder with butter layered to the top. That you don’t choke on it is courtesy to the dramatic core at the center of the film developed by Scott- who hasn’t had a script this deftly developed since 1993’s Tarantino-penned “True Romance” (for me, “Man on Fire” was 40 minutes of great drama followed by 80 minutes of predictable melodrama)- and his cast. As the woman, Paula Patton makes a lovely object for Doug’s longing, as he watches her, trying to find the clues that lead to her death before finding a way to prevent it. Jim Caviezel- who played another J.C. in Mel Gibson’s “The Passion of the Christ”- finds the soulless sociopath within as Carroll Oerstadt, the lead suspect who sees the act as patriotism, not terrorism. He makes a worthy antagonist for Doug, whom Washington plays with his usual dramatic bravado and brains, while also showing the romantic compassion that he develops for Patton’s Claire that becomes palpable to the audience through to the end. “Deja Vu” features all the usual Bruckheimer-Scott action fireworks (including the most original car chase in years), but it’s in their star’s dramatic center that makes the film actually feel thrilling.
