7.2 | / 10 |
Users | 4.4 | |
Reviewer | 3.5 | |
Overall | 4.3 |
An A.T.F. agent is called in to recover evidence in the aftermath of a horrific explosion, using experimental surveillance technology.
Starring: Denzel Washington, Paula Patton, Val Kilmer, Jim Caviezel, Adam GoldbergAction | 100% |
Thriller | 98% |
Sci-Fi | Insignificant |
Video codec: VC-1
Video resolution: 1080p
Aspect ratio: 2.40:1
Original aspect ratio: 2.39:1
English: LPCM 5.1 (48kHz, 16-bit)
English: Dolby Digital 5.1 (640 kbps)
French: Dolby Digital 5.1 (640 kbps)
Spanish: Dolby Digital 5.1 (640 kbps)
English SDH, French, Spanish
50GB Blu-ray Disc
Single disc (1 BD)
Region A (locked)
Movie | 3.0 | |
Video | 4.5 | |
Audio | 4.5 | |
Extras | 3.0 | |
Overall | 3.5 |
Déjà Vu is a Tony Scott/Jerry Bruckheimer/Denzel Washington joint production, and the three, who have previously worked together on Crimson Tide, make a pretty good team. Tony Scott’s action-heavy oeuvre certainly appeals to the money-minded producer, and Bruckheimer manages to rein in the director’s often-overindulgent visual eccentricities, making box office gold with his Midas-like touch. And Denzel Washington is just plain good, giving his all no matter the role. So, you’d expect Déjà Vu—the trio’s second collaboration—to be a well- executed thriller, with some big budget action sequences and a thin, but narrative-propelling romance. For the most part, that’s exactly what it is. At the film’s core, however, is a science fiction plot device that, no matter how hard it tries to sell itself as science fact, comes off as patently ridiculous, making it extremely hard to suspend your disbelief.
The latest and best in high-tech voyeurism.
There's so much eye candy in this film that I'm pretty sure my retinas now have cavities. Presented in 1080p, with a VC-1 encoded transfer, Déjà Vu's video quality may not make up for its lackluster narrative, but it sure comes close. As expected from recent Tony Scott productions, the film definitely has a stylized look, but not nearly as overblown as the excesses of Domino. The color palette is lush and mildly oversaturated, giving an almost cross-processed appearance that bumps blue levels and pulls bright whites into warm, yellowish tones. See the summery haze of the opening sequence for reference. When cars and bodies from the ferry come crashing into the Mississippi, there's some beautiful underwater photography that shows the deep blue gradient of the watery depths contrasted against the raging fire above. Contrast is a good word for this transfer, as everything about the image absolutely pops. Overall clarity is spectacular—the ferry explosion is a truly stunning HD moment—and even the tiniest textures, like the stubbly suede of Denzel's jacket, are cleanly detailed. Contrast can be a bit too hot at times, though this— along with skin tones that veer toward yellow—is a stylistic choice more than anything. I noticed a few slight, isolated instances of wavering, but other than that, the film is free of any troublesome transfer issues.
When Déjà Vu's action sequences ramp up, the film's Linear PCM 5.1 track can roar with the best of them. Take the opening ferry bombing, for instance. The rippling explosion thunders and pops with clear concussive blasts, riding a rumbling, LFE earthquake. Cars nose into the water with deep, bubbly plunging sounds, and piercing, directionally accurate screams are cleverly truncated, snuffed out by shrapnel or water. Rescue choppers fly overhead, and the sound of their rotors pans convincingly from back to front and side to side. When the film's audio and image match up in such a bombastic, immersive way, Déjà Vu truly becomes a wild ride. The more pedestrian, expository scenes, however, are nearly barren in contrast. To be fair, there's not a lot going on audio-wise during the "Snow White" scenes, but what is there is rendered cleanly and faithfully. The various whizzes, bleeps, and bloops of the time machine's controls are convincing, and voices are always crisp and well represented. There's also some nice environmental ambience during the sequence in the bayou, with crickets and birds singing in the rears. Though there's a fairly big disparity between the loud and quiet portions of the film, the mix is generally fantastic, and I even rewound several moments to listen to them twice.
Surveillance Window
This is a great way to present bonus material. By turning Surveillance Window on, you can watch
the film with audio commentary by Tony Scott, Jerry Bruckheimer, Bill Marsilii, and Terry Rossio.
Periodically, a featurette will interrupt the film and give some appropriate, behind-the-scenes
information. There are ten such interruptions—with 37 total minutes of 1080p footage—and they
detail everything from the pyrotechnics of the ferry explosion, to the realities of filming in post-
Katrina New Orleans. Standout segments include "The Cameras of Déjà Vu," which gives
a look at the LIDAR and Time Track cameras used for the "Snow White" footage, and "Split Time
Car Chase," where Tony Scott talks about the "Ultimate Arm," a camera boom built on top of an
SUV that can swivel around the car and give an unprecedented sense of momentum. The
commentary is hit-or-miss, as each speaker was recorded and dubbed in separately. Scott seems
kind of ambivalent about the whole picture, and the two writers share an undercurrent of
animosity about how their material was handled. Though the behind-the-scenes features are
pretty standard movie-making fare, I did enjoy how they were presented as an almost organic
part of the film. Do note that you can also select and play them independently from an index in
the special features menu.
Deleted Scenes (1080p, 7:56)
Five mostly disposable scenes are presented, with optional commentary by Tony Scott.
Extended Scenes (1080p, 5:26)
There are three extended scenes, also with optional commentary.
Movie Showcase
This feature allows you to demo three of the film's biggest cinematic moments, from a picture
and sound perspective. Do note that the audio is only Dolby Digital, so you're not really getting a
full HD experience.
As the film stars Denzel, Jim Caviezel, and Val Kilmer, director Tony Scott reportedly had cast and crew t-shirts made that read: "Malcolm X, Jesus Christ, and Jim Morrison: Déjà Vu. How Can We Fail?" It's a loaded question, so I'll let Jim Morrison answer that one. At one point during the disc's special features, Val Kilmer says that Tony Scott is not a "purely intellectual" director, but is rather "visceral and emotional." Now, that's all well and good if you're making an average crime caper or a mindless summer blockbuster, but I hope you've got your thinking cap on when making a movie about time manipulation. I mean, we casually throw around the phrase, "look, it's not rocket science," but I bet actual rocket scientists replace that with, "come on guys, this isn't time travel." Déjà Vu's biggest stumbling block seems to be the fact that it's too brainy for your run-of-the-mill action enthusiast, but not nearly complex or carefully constructed enough to appease hardcore fans of, say, Primer or Donnie Darko. With some stunning visuals and bold, immersive audio, however, the film does get an impressive Blu-ray treatment, and I'd cautiously recommend the film for anyone who can put aside its somewhat suspect science.
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