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"Edge of Tomorrow" is less of a time travel movie than an experience movie; that statement might not make sense now, but it probably will after you've seen it. Based on Hiroshi Sikurazaka's novel "All You Need is Kill", it's a true science fiction film, highly conceptual, set during the aftermath of an alien invasion. Maybe "extra-dimensional being invasion" is more accurate. The fierce, octopod-looking beasties known as Mimics are controlled hive-mind style by a creature that seems able to peer through time, or rupture it, or something. When the tale begins, we don't have exact answers about the enemy's powers (that's for our intrepid heroes to find out), but we have a solid hunch that it can see possible futures through the eyes of specific humans, then treat them as, essentially, video game characters, following their progress through the nasty "adventure" of the war, and making note of their tactical maneuvers, the better to ensure our collective extermination. 

Tom Cruise , who seems to be spending his fifties saving humanity, plays Major William Cage, an Army public relations officer. Cage is a surprising choice for the role of hero. He's never seen combat yet inexplicably finds himself thrown into the middle of a ferocious battle that will decide the outcome of the war. The film begins with Cage en route to European command headquarters in London, waking up in the belly of a transport chopper. The rest of the movie may not be his dream per se, but at various points it sure feels as though it is. The world is wracked by war. Millions have died. Whole cities have been reduced to ash heaps. The landscapes evoke color newsreel footage from World War II, and much of the combat seems lifted from that era as well. 

When Cage meets the general in charge of that part of the world's forces, he's told he's being sent right into this movie's version of D-Day and is to report for duty immediately. No amount of protest by Cage can halt this assignment, and soon after he joins his unit and learns the rudiments of wearing combat armor (this is one of those science fiction films in which soldiers wear clumping bionic suits festooned with machine guns and other weapons) he dies on the battlefield. Then he wakes up and starts all over. Then he dies again and starts over again. He always knows he's been here before, that he met this person, said that thing, did that thing, made a wrong choice and died. Nobody else does, though. They're oblivious to the way in which Cage, like "Slaughterhouse Five" hero Billy Pilgrim, has come unstuck in time. 

Cage's only allies are a scientist ( Noah Taylor ) who believes the creatures are beating humanity through their mastery of time, and Rita Vrataski ( Emily Blunt ), an Audie Murphy or Sgt. York type who's great for armed forces morale in addition to being an exceptionally gifted killer. Rita has experienced the same temporal dislocation that Cage is now experiencing, but at a certain point it stopped. She recognizes his maddening condition but can no longer share in it. She can, however, offer guidance (and a key bit of information that defines his predicament), and speed up the learning curve by shooting him in the head whenever it becomes obvious that they're going down a wrong road that'll lead to the same fatal outcome. 

Although the film's advertising would never dare suggest such a thing, for fear of driving off viewers who just want the bang bang-boom boom, Cage is a complex and demanding role for any actor. It is especially right for Cruise, in that Cage starts out as a Jerry Maguire-type who'll say or do anything to preserve his comfort, then learns through hard (lethal) experience how to be a good soldier and a good man. He changes as the story tells and retells and retells itself. By the end he's nearly unrecognizable from the man we met in the opening. 

Cruise is hugely appealing here, not just in the early scenes opposite Gleeson in which he's in Tony Curtis mode—he's always fantastic playing a smooth-talking manipulator who's sweating on the inside—but later, where he exhibits the sort of rock-solid super-competence and unforced decency that Randolph Scott brought to Budd Boetticher's westerns. He was always likable, sometimes perfect in the right role, but age has deepened him by bringing out his vulnerability. There's an existential terror in his eyes that's disturbing in a good way, and there are points in which "Edge of Tomorrow" seems to simultaneously be about what it's about while also being about the predicament of a real actor trying to stay relevant in a Hollywood universe that's addicted to computer generated monsters, robots and explosions. Cruise deserves some sort of acting award for the array of yelps and gasps he summons as he's killed by a Mimic or shot in the head by Blunt and then rebooted into another version of the story.

The rest of the cast has less to do because this is Tom Cruise's movie through-and-through, but they're all given moments of humor, terror or simple eccentricity. Taylor often gets cast as brilliant but haunted or ostracized geniuses, and he's effective in another of those roles here. Gleeson, as is so often the case, invests a rather stock character with such humanity that when the character's motivations and responses change, you get the sense that it's because the general is a good and smart man and not because he's just doing what the script needs him to do. Emily Blunt is unexpectedly convincing as a fearless and elegant super-soldier, and of course a magnificent camera subject as well. Director Doug Liman is so enamored with the introductory shot of her rising up off the floor of a combat training facility in a sort of downward facing dog yoga pose that he repeats it many times. The film's only egregious flaw is its attempt to superimpose a love story onto Cruse and Blunt's relationship, which seems more comfortable as a "Let's express our adoration for each other by killing the enemy" kind of thing. 

There's no end to the number of films and novels and other sources to which "Edge of Tomorrow" can be likened. " Groundhog Day " seems to be everyone's reflexive comparison point, but Liman's elaborately choreographed tracking shots and unglamorously visualized European hellscapes evoke " Children of Men ," the creatures themselves have a touch of the Sentinels from the "Matrix" films, and the monsters-vs.-infantry scenes will remind you of James Cameron's " Aliens " and its literary predecessor " Starship Troopers ." ( Bill Paxton , one of the stars of "Aliens," plays Cage's drill sergeant, a mustachioed Kentucky hard-ass with an amusingly sour sense of humor.)   It's also an exceptionally brutal film, so bone-and-skull-crushingly violent and fairy-tale frightening that its PG-13 rating is stupefying. Parents should avoid taking young children who'll be both confused by the fractured narrative and terrified of the Mimics, nightmare creatures that look like razor-tentacled squid and roll across the landscapes like tumbleweeds.

In all, though, "Edge of Tomorrow" is its own thing. One of its most fascinating qualities is its keen judgement of the audience's learning curve. The early sections of the film repeat scenes and dialogue until you get used to the idea of the story as a video game or movie script, but just when you start to think, "Yes, I get it, let's move on," the film has in fact moved on and is now leaving things out because they're not necessary. By the end of the movie the script—which is credited to Christopher McQuarrie and Jez and John Henry Butterworth—has gotten to the point where it's tactically withholding information and waiting for us to figure things out on our own. It repeats key images and lines near the end as well, but always for good reason. When you see the familiar material again you feel different about it, because its meaning has changed. The movie has an organic intelligence and a sense that it, too, exists outside of linear time. It seems to be creating itself as you watch it.  

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film Credits

Edge of Tomorrow (2014)

Rated PG-13 for intense sequences of sci-fi action and violence, language and brief suggestive material

113 minutes

Tom Cruise as Lt. Col. Bill Cage

Emily Blunt as Rita Vrataski

Brendan Gleeson as General Brigham

Bill Paxton as Master Sergeant Farell

Jonas Armstrong as Skinner

Tony Way as Kimmel

Kick Gurry as Griff

Dragomir Mrsic as Kuntz

Charlotte Riley as Nance

Noah Taylor as Dr. Carter

• Hiroshi Sakurazaka
• Christopher McQuarrie
• Jez Butterworth
• John-Henry Butterworth
• Christophe Beck

Cinematography

• James Herbert

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Edge of Tomorrow

A soldier fighting aliens gets to relive the same day over and over again, the day restarting every time he dies. A soldier fighting aliens gets to relive the same day over and over again, the day restarting every time he dies. A soldier fighting aliens gets to relive the same day over and over again, the day restarting every time he dies.

• Christopher McQuarrie
• Jez Butterworth
• John-Henry Butterworth
• Emily Blunt
• Bill Paxton
• 1.2K User reviews
• 637 Critic reviews
• 71 Metascore
• 11 wins & 38 nominations

• Master Sergeant Farell

• General Brigham

• Cruel Sergeant

• Infirmary Nurse

• Young Soldier …

• Secretary - Judith
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia While filming the car chase scene which includes a minivan, Emily Blunt was instructed to drive fast and then to take a right hand turn so that the van would shake. However, Blunt missed her mark and she drove the car right into a tree. She later said that it was both hilarious and terrifying, as she almost killed Tom Cruise , who was in the passenger seat, but both of them started laughing after the incident.
• Goofs On the map seen at the start of the movie, the capital of Slovenia, Ljubljana, was misplaced in Croatia.

Rita Vrataski : What do we do now?

Cage : I don't know. We've never gotten this far.

• Crazy credits There are no opening credits, the title doesn't appear until the closing credits.
• Connections Featured in Film '72: Episode dated 5 March 2014 (2014)
• Soundtracks Massive Mellow Written by Daniel Lenz Performed by Daniel Lenz Courtesy of RipTide Music

User reviews 1.2K

• Jul 4, 2021
• Is "Edge of Tomorrow" based on a book?
• What song is playing when the movie ends?
• June 6, 2014 (United States)
• United States
• -Director Doug Liman in Official Movie Interview
• Official Facebook
• Live Die Repeat: Edge of Tomorrow
• Trafalgar Square, Westminster, Greater London, England, UK
• Warner Bros.
• Village Roadshow Pictures
• RatPac-Dune Entertainment
• See more company credits at IMDbPro
• $178,000,000 (estimated)
• $100,206,256
• $28,760,246
• Jun 8, 2014
• $370,570,268

Technical specs

• Runtime 1 hour 53 minutes
• Dolby Digital
• Dolby Atmos

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A Spoiler-Filled Review of “Edge of Tomorrow”

By Richard Brody

It’s rare that the art of movies and the business of their distribution coincide as closely as they do with “Edge of Tomorrow,” the director Doug Liman’s new science-fiction vehicle for Tom Cruise. It opens this Friday, June 6th, the seventieth anniversary of D Day—and that massive and decisive Normandy landing, tweaked to fit the movie’s futuristic premise, is also its main dramatic event. The metaphorical overlay of fantasy and history is the best thing “Edge of Tomorrow” has to offer—and, for much of its running time, that overlay is enough to lend the movie a shiver of curious power.

“Edge of Tomorrow,” as everyone already knows, is a sci-fi war film with a “Groundhog Day”-like premise: Cruise plays a soldier who, after being killed in combat, awakens the day before the battle and must relive, over and over, the moment of his death. Yet the movie hidden behind “Edge of Tomorrow” isn’t “Groundhog Day” but, rather, “Saving Private Ryan.” The terrifyingly gory opening sequence of Steven Spielberg’s film—the landing at Omaha Beach—poses a fundamental question about war: If the D Day combat had been reported in real time and in detail, if the uncensored newsreel footage that it generated played like Spielberg’s realistic scene—with its dismembered limbs, dangling viscera, incinerated bodies, cries of agony, scattered corpses, and waves of blood—would the American public have tolerated the pursuit of the war until the enemies’ surrender? And would sufficient numbers of American men have fought in it willingly?

That question is the premise of “Edge of Tomorrow”: the world is battling alien creatures who have killed hundreds of millions of people in Europe, and the allied army, known as the United Defense Force (U.D.F.), is planning a colossal and top-secret mobilization to cross the English Channel and gain a beachhead in France in order to reconquer the continent from the invading organisms. On the eve of the great mission, Major William Cage (Cruise), a U.D.F. information officer, is ordered to be embedded in a combat battalion in order to “sell the war” to the citizenry.

Because the setup is the source of much of the movie’s pleasure, more or less any discussion of the story is a spoiler. “Edge of Tomorrow” is a movie that offers primarily the glee of its telling—the well-crafted delight of a tall fantasy that’s as shallow as it is clever—and I’m going to indulge in the pleasure of this well-wrought yarn by simply telling it.

Cage, a former advertising executive who has no military training or background, wants no part of the fight, and he refuses the order from the general in command (Brendan Gleeson). He tries to flee, and is tased into submission—only to awaken in the staging area, demoted to private, and forced into a front-line combat unit under the hard-nosed command of Master Sergeant Farell (Bill Paxton). But the beach landing goes horribly awry. The troops are being massacred by the superfast, thrashing, whip-tentacled monsters, and Cage, confronting an especially big and mean creature, is himself quickly killed. Then, in a brashly effective and simple cut from one shot to another, Cage comes instantly back to life, restored to the way he was at the start of the day of battle, at the moment of his reawakening after being tased.

The crucial and delicious detail is that Cage’s curse, to die again endlessly (though, somehow, seemingly painlessly), affords him a limitless capacity to learn on the job—each return to battle is both another lesson in warfare and another chance to probe the enemy’s vulnerabilities. Soon, reawakening at the British base, Cage chooses a martial mentor: Sergeant Rita Vrataski (Emily Blunt), a commando fighter who was the heroine of the U.D.F.’s one prior military victory on the continent (she’s nicknamed the Angel of Verdun, extending a metaphor one generation back). Vrataski trains Cage and accompanies him into battle. They are both helped by a discredited physicist (Noah Taylor), whose speculative simulations reveal the enemy’s deft deceptions and hidden weakness.

The idea of the movie (based on the novel “ All You Need Is Kill ,” by Hiroshi Sakurazaka) is a corker, which is why it’s worth reëmphasizing the spoiler alert. At the same time as Cage’s reiterated lives allow him to master the monsters, we learn that the monsters’ central brain has allowed Cage to be regenerated on purpose. The monster brain is using Cage to learn how humans fight. Vrataski was also similarly chosen. As it turns out, she offered humanity a Pyrrhic victory at Verdun: the aliens allowed her troops to win there in order to observe and master her tactics. When Cage and Vrataski figure this out, they recognize that they have to get one step ahead of the aliens on the learning curve, and must anticipate their play one move in advance, in order to make their decisive advance toward Paris. (The story deals with the sci-fi problem of parallel worlds by making each new iteration ontologically supersede the previous one: last world, definitive world.)

“Edge of Tomorrow” conveys its ingenious, historically resonant premise but never develops it. The narrative is high-concept gimmickry realized with efficiency and energy but not much imagination. The engineering of the intricate story, and the deft dovetailing needed to iterate multiple lives in rapid succession, seem to have taxed Liman’s art, as does the effort to simulate chemistry between Cruise and Blunt. She’s an active and alert performer who, throughout, seems to want more—a character with a life story to sink her interpretive teeth into—whereas Cruise takes Cage’s one-note backstory, the cowardly out-of-work ad man, and expands it, and himself, to the breaking point. Cruise’s eternal sheen of callow youth is integrated into the very substance of the film. As Cage is converted by circumstances into a hardened and capable fighting machine (veering toward superhero territory), the story tracks his dramatic transformation, in under two hours, from a raw trainee into a military hero. “Edge of Tomorrow” turns out to be the movie that Cage was ordered to make: his greatest recruiting film.

What difference would it make to such a juicy tale if Liman had brought more imagination to its direction? If he had parsed the action with more detail and more nuance or had conceived and encapsulated the characters with more insight? The problem with a good story that’s nothing more than a good story is that it exhausts itself in the telling, as this one does, and never makes the leap from idea to experience. “Edge of Tomorrow” requires Cage’s heroism to be simultaneously physical and intellectual, a matter of calculation and anticipation as well as of courage and execution. What’s missing from the movie is the existential adventure that it implies—the confrontation with death, the overcoming of pain. Liman offers war leached of horror—death without pain, memory without trauma—and narrows Cage to a stick figure emptied of the fascinating and disturbing psychological implications of his adventure. The movie is also humorless—at least, devoid of intentional humor. Yet the demands of the international movie-distribution marketplace seem to be responsible for a howlingly funny clinching line of dialogue, capping the heroes’ success: “Russian and Chinese forces are marching across Europe without resistance.” It promises an utterly unintended sequel.

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• Entertainment
• Movie Review

'Edge of Tomorrow' review

The director of 'the bourne identity' takes tom cruise to the future... again and again and again.

By Tim Grierson on June 3, 2014 09:00 am 192 Comments

As he gets ready to turn 52 in July, Tom Cruise has settled into an impressive middle age. No longer the box-office titan he once was, he nonetheless remains an incredibly reliable on-screen presence. Like the San Antonio Spurs or late-period Sonic Youth, he doesn’t do anything that’s particularly surprising, but he’s done it so well for so long that we risk taking his excellence for granted.

Remarkably, aging hasn’t diminished Cruise’s appeal. He was his timeless kinetic self in 2011’s Mission: Impossible – Ghost Protocol , and even in a dud like Rock of Ages he gave his all in such a spellbinding way that you ended up rooting for him despite the movie. That’s definitely not a problem with his latest, Edge of Tomorrow , which is superb. Like Cruise himself at this stage of his career, the film’s concept ought to be played-out and obvious, but Edge of Tomorrow is much smarter and sharper than you’d expect. And much of its success comes from Cruise’s anchoring, fully engaged performance.

Set in the near future when an invading alien race has wiped out much of humanity over a five-year period, Edge of Tomorrow stars Cruise as William Cage, a US officer who’s essentially a high-ranking military spokesman. (Squeamish around blood and having never set foot on the battlefield, Cage ran an advertising firm before the war. He’s the type of slimy, smug salesman that Cruise’s Jerry Maguire character was trying to avoid becoming.) But after Cage pisses off a superior (Brendan Gleeson), he finds himself stripped of his rank and stationed on the front line for an attack that is humanity’s last, best chance to subdue this alien race, known as the Mimics. Strapped into a mechanized super-suit like his fellow infantry soldiers, Cage realizes he’s dead meat; he doesn’t even know how to activate his suit’s weapons.

But a funny thing happens on the way to Cage’s funeral. Seconds after dying in combat, he wakes up to discover that he’s back at the beginning of the previous day. No matter what Cage does, his death returns him to that same point, forcing him to relive the same period of time again and again. Unsure what’s going on and unable to convince anybody of what he’s experiencing, Cage finally finds an ally in a decorated soldier, Rita Vrataski (Emily Blunt), who once had the same inexplicable power that he has. Together, they have to figure out the right combination of moves that will keep Cage alive long enough to kill the Mimics’ queen, the Omega.

The Groundhog Day comparisons are unavoidable, but unlike that Bill Murray comedy Edge of Tomorrow isn’t about its main character learning to become a better person but, rather, learning how not to die. The movie is based on Hiroshi Sakurazaka’s sci-fi novel All You Need Is Kill , which was praised for a clever time-looping conceit that doubled as an apt metaphor for the monotony and pointlessness of war. Edge of Tomorrow has similar thematic undercurrents if you want to note them. (For instance, the chorus of Cage’s run-ins with a comic-blowhard commanding officer, played by Bill Paxton, slowly reveals itself to be a parody of every gung-ho war movie ever made.) But the film is more of a typical Cruise vehicle in that it focuses primarily on crafty, muscular sequences that are accented by the actor’s emotional intensity, lending the action an empathetic, human dimension.

Credited to three screenwriters, including The Usual Suspects Oscar-winner Christopher McQuarrie, Edge of Tomorrow gets a surprising amount of mileage out of its central premise. Even if you haven’t experienced this loop-de-loop conceit before, there’s a worry that the film’s repetition of events will become, well, repetitive. So tip your cap to director Doug Liman ( The Bourne Identity , Mr & Mrs. Smith ) and editor James Herbert for figuring out how to balance Cage’s growing frustration with moments of hopefulness as the character gradually makes progress toward finding the Omega. Some might complain that the film’s do-over premise is another example of Hollywood blockbusters cheapening the trauma and finality of death, but Edge of Tomorrow actually suggests a fate worse than dying: an unending purgatory in which unlimited second chances equate to infinite amounts of failure.

That existential notion girds the film’s teasing, puzzle-solving story, giving it a resonance to go along with Cage’s trial-and-error process. Liman choreographs the action sequences with a frenetic grandeur — Edge of Tomorrow ’s battle scenes are like a sci-fi Saving Private Ryan — and his aliens are wonderfully terrifying monster-spiders, the best of their kind since Starship Troopers . Edge of Tomorrow gives Liman his biggest canvas, but his cold smarts and sneaky sense of humor aren’t lost in the process. No matter how convoluted some of the logic gets, the film always feels visually and narratively sophisticated where other summer tentpoles are merely lumbering and bludgeoning.

For a change, though, Cruise isn’t the all-confident hero: Cage is a coward and certainly too old to be a fighting soldier. But Cruise wears his limitations lightly. For the actor, human weaknesses like age or squeamishness are mere trifles to overcome, and his commitment to Cage’s buried decency gives the performance a rugged dignity. And Cruise has learned not to be a star who has to dominate his movies: Blunt’s hard-as-nails character gets all the best one-liners, while he uses his familiar, slightly hammy bug-eyed intensity to wring laughs from his character’s impossible situation. There’s been talk that Edge of Tomorrow could be one of the summer’s bigger bombs, and the tracking hasn’t been very promising so far. It would be ironic that after years of being one of the world’s biggest stars, Cruise could be entering a period where his work actually gets overlooked. If so, Edge of Tomorrow will be Exhibit A in the case for why he’s still killing it.

Doug Liman’s Edge of Tomorrow is now playing internationally. It opens in the US on June 6th. All images courtesy of Warner Bros.

Film Review: ‘Edge of Tomorrow’

Tom Cruise stars in this cleverly crafted and propulsively executed sci-fi thriller about a soldier forced to relive the same day over and over again.

By Justin Chang

Justin Chang

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“Groundhog Day” and “Starship Troopers” make surprisingly compatible bedfellows in “ Edge of Tomorrow ,” a cleverly crafted and propulsively executed sci-fi thriller in which an untrained soldier must relive the same day over and over again — expiring violently each time — until he finds a way to defeat the alien marauders that have taken Earth hostage. That our ill-prepared hero is played by Tom Cruise lends a sly if perhaps unintended layer of subtext to this smarter-than-average star vehicle, insofar as the now 51-year-old actor seems to have embraced a similar trial-and-error career strategy: testing out one man-of-action persona after another in his ongoing (some would say undying) bid for bankability. Alas, B.O. success is likely to elude him this time out, as Warners’ June 6 release feels surprisingly low on buzz and audience awareness for an f/x-heavy picture with a $175 million pricetag. International returns will have to work extra-hard to make up the difference.

That’s a shame, because this enjoyably gimmicky entertainment is not only one of Cruise’s better recent efforts, it’s also arguably the most purely pleasurable film Doug Liman has directed in the 12 years since “The Bourne Identity.” And just as the amnesiac hero of that movie had to gradually get back in touch with his inner killing machine, so the initially hapless, aptly named Maj. William Cage (Cruise) must spend the better part of “Edge of Tomorrow” learning to unlock the ruthless soldier within. Introduced as a smiling representative of the United Defense Force, an enormous military operation designed to defend Earth against a nearly invincible alien race known as Mimics, Cage is a figurehead, not a fighter, which his why he’s so dumbfounded when Gen. Brigham (Brendan Gleeson, at his most hardass and no-nonsense) orders him into the front lines of battle, even going so far as to arrest him when he tries to wriggle his way out.

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Despite Cage’s vigorous protests to his commanding officer (a fine Bill Paxton) that there’s been some mistake, his fate is sealed: Strapped into bulky metal combat gear and equipped with high-grade weaponry that he has no clue how to operate, Cage, along with his fellow soldiers, is deployed from London and deposited, none too gently, on a French beach, where a fiery humans-vs.-Mimics battle is raging at full force. It’s hardly an accident that the setting immediately evokes Normandy, and while what follows isn’t exactly the opening sequence from “Saving Private Ryan,” it’s a brutal massacre all the same: The humans are gravely outnumbered, and even UDF’s star soldier, the tough-as-hell Rita (Emily Blunt), is killed in the onslaught.

Through sheer dumb luck, Cage does manage to destroy one particularly ugly, oversized Mimic, only to lose his own life when he gets a faceful of the creature’s highly corrosive blood. End of movie? Not quite. To his utter disbelief (although audiences will suspend theirs easily enough), Cage awakens to find that the day has started all over again, and once more he must attempt to talk his way out of the situation, get dropped into battle and try to survive the bloodbath on the beach as long as he can. Every time he dies, the clock is reset and he gets another chance to reshape the future, though it will take many, many replays before he learns how to navigate this particular cinematic videogame — where dying is as harmless as it is in “Candy Crush,” if rather more painful — and reach the elusive next level.

The screenplay was adapted from Hiroshi Sakurazaka’s much-lauded 2004 novel “All You Need Is Kill” by Christopher McQuarrie, who knows his way around a mind-bending mystery scenario (“The Usual Suspects”), and by Jez and John-Henry Butterworth, who previously worked with Liman on “Fair Game.” Crucially, the scribes have solved the problem of how not to make the film play like a repetitive slog; aided enormously by James Herbert and Laura Jennings’ snappy, intuitive editing, they tell their story in a breezy narrative shorthand (and at times, sleight-of-hand), transforming what must surely be an unbelievably tedious gauntlet for our hero into a deft, playful and continually involving viewing experience. Among other things, “Edge of Tomorrow” is a movie that slyly teaches you how to watch it.

Under these tight structural constraints, a month’s worth of replays can be dispensed with in minutes, and an event that seems to be transpiring for the first time can turn out to be something Cage has already lived through on countless occasions. Over time, he figures out that, rather than try to warn his fellow soldiers that he has seen the future or fight his way off the beach, his best tactic will be to track down Rita before the battle begins. And sure enough, Rita not only immediately understands and believes what he’s telling her, but also has a trusty scientist friend (Noah Taylor) on hand who can at least partly explain how Cage, at the precise moment of killing the Mimic, became locked in a cycle of eternal recurrence. It’s at this point that the picture really spreads its wings, slowly illuminating the nutty rules that govern its futuristic universe, while also allowing Cage and Rita to break free of each day’s restrictive pattern in search of a stealthier, more effective plan of attack.

If “Groundhog Day” is an obvious influence, then those “Choose Your Own Adventure” novels are another (amusingly, whenever Rita feels they’ve taken a wrong or unproductive turn, she simply whips out her gun and resets the clock). Perhaps predictably, this is also the point at which “Edge of Tomorrow” blossoms into a love story of sorts, and if this development feels a bit perfunctory and emotionally undercooked, especially in the way it too easily softens Rita’s tough-girl edges, Liman handles it with a pleasing lightness of touch that extends to the proceedings as a whole. The final twists are likely to throw a few viewers for a temporal loop, but by that point, the film has more than earned their goodwill.

Following his creditable if unremarkable work in “Jack Reacher” and “Oblivion,” Cruise is in particularly appealing form here, in no small part because the role is one he can ease himself into, without pushing his undeniable charisma and physical prowess too aggressively. Although he’s initially slick and confident, qualities the actor could embody in his sleep (and probably does), Cage is soon revealed as a hopeless, ineffectual soldier trying to stay alive, and Cruise embodies this struggle with a refreshing lack of vanity that makes his eventual awesomeness — the product of endless drilling supervised by a merciless Rita — feel genuinely earned, rather than a foregone conclusion. (There’s hate-viewing crossover potential here, too: Cruise’s non-fans could do worse than see a movie in which he basically dies 500 times, and when he’s not, he’s getting his ass handed to him by spiky combat-training attack dummies.)

Blunt is alert, energized and emotionally present in a none-too-taxing role; while a bit more action for Rita would not have gone awry, the pleasure of “Edge of Tomorrow” is that it’s not an action movie first and foremost, but rather a cheeky little puzzle picture in expensive-looking blockbuster drag. The excellent production package is distinguished by the expertly designed Mimics, which resemble overgrown, radioactive crustaceans that got caught in an oil spill, as well as by the anamorphic 35mm work of d.p. Dion Beebe, who shot Cruise so memorably in “Collateral,” and who delivers a succession of stable, balanced yet dynamic images on a color palette of metallic blues, grays and browns. The picture will be released in 3D, but looked fine in the 2D version screened for review.

Reviewed at Dolby Laboratories, Burbank, Calif., May 8, 2014. MPAA Rating: PG-13. Running time: 113 MIN.

• Production: A Warner Bros. release and presentation in association with Village Roadshow Pictures and Ratpac-Dune Entertainment of a 3 Arts production in association with Viz Prods. Produced by Erwin Stoff, Tom Lassally, Jeffrey Silver, Gregory Jacobs, Jason Hoffs. Executive producers, Doug Liman, David Bartis, Steven Mnuchin, Joby Harold, Hidemi Fukuhara, Bruce Berman. Co-producers, Tim Lewis, Kim Winther.
• Crew: Directed by Doug Liman. Screenplay, Christopher McQuarrie, Jez Butterworth, John-Henry Butterworth, based on the novel "All You Need Is Kill" by Hiroshi Sakurazaka. Camera (Technicolor, Panavision U.K. widescreen, anamorphic 35mm), Dion Beebe; editors, James Herbert, Laura Jennings; music, Christophe Beck; music supervisor, Julianne Jordan; production designer, Oliver Scholl; supervising art director, Neil Lamont; art directors, Alastair Bullock, Gary Tomkins, Mark Harris, Christian Huband, Jason Knox-Johnston, Haley Easton-Street, Stephen Swain, Andrew Palmer; set decorator, Elli Griff; costume designer, Kate Hawley; sound (Dolby Digital/Datasat), Stuart Wilson; supervising sound editor, Dominic Gibbs; sound designer, Jimmy Boyle; re-recording mixers, Chris Burdon, Mark Taylor; visual effects supervisor, Nick Davis; visual effects producers, Alex Bicknell, Emma Norton; visual effects, Sony Pictures Imageworks, Framestore, MPC U.K. & Vancouver, Cinesite, Rodeo FX, Nvizible; stunt coordinator, Wade Eastwood; 3D conversion, Prime Focus; assistant directors, Kim Winther, Max Keene, Chris Carreras; second unit director, Simon Crane; casting, Lucinda Syson.
• With: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Masayoshi Haneda, Tony Way.

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‘edge of tomorrow’: film review.

Tom Cruise and Emily Blunt star in director Doug Liman's postapocalyptic drama based on the Hiroshi Sakurazaka novel "All You Need Is Kill."

By Todd McCarthy

Todd McCarthy

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A narratively ambitious sci-fi actioner, Edge of Tomorrow plays out a familiar alien invasion apocalypse drama in a way that, through repetition, allows humanity to learn from its mistakes and have a shot at surviving until another movie’s monsters from outer space show up. Picking yourself up to fight another day might work for the characters, but battle fatigue eventually sets in for viewers as Doug Liman ‘s film keeps folding back on itself time and time again. Tom Cruise and gigantic action scenes assure sizable openings internationally, but several commercial question marks hover over this expensive Warner Bros. release, including the second-tier tentpole grosses for the star’s recent action outings (other than for the Mission: Impossible franchise), a title that sounds like it belongs on an old daytime soap opera and, most significantly, the extent to which audiences will tire of the let’s-play-it-over-again storyline.

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Based on a well-regarded 2004 novel by Hiroshi Sakurazaka , the clever script by Christopher McQuarrie and Jez and John-Henry Butterworth not only plays with time and the way technology could be used to upgrade human capabilities, but takes a relatively playful attitude toward the familiar battle tropes. Even the ever-image-conscious Cruise allows himself and his character to be made fun of, as his U.S. Army Major William Cage, a PR guy and wily spin doctor, is an acknowledged wimp who’s never seen combat and tries every trick to wriggle out of being sent to the front, which is exactly what Gen. Brigham ( Brendan Gleeson , in amusingly scornful form) intends to do with him.

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The general gets to spout such fresh lines as, “All of humanity is at stake,” which is the case this time because of something called “the mimic scourge,” an invasion of ferocious metallic spidery critters with way too many tendrils that whip around like crazy and pierce you like javelins. The mimics have taken over even more European territory than the Nazis did and are on the verge of sacking the U.K., a fate the allied United Defense Force is trying to avoid with the self-explanatory D-Day 2.0.

Except it’s not going well. Despite the considerable manpower and heavy hardware the UDF throws at the enemy, the Normandy beaches are littered with human detritus. It’s impossible to imagine that the addition of the cowardly Cage, who’s been demoted to private, will alter the UDF’s fortunes in any way. “I’m not a soldier,” he protests, and promptly proves it by being offed within moments of chuting down into a battle that is way beyond anything Private Ryan ever faced.

Created specifically to kill, the mimics snap, swirl, dart, lunge, whip and assault like an octopus on speed. They can be stopped, but only with great difficulty, and it’s hard to see where they are, much less judge when and from what direction they will strike. For their part, the soldiers are so heavily armed and armored that they resemble half-men, half-machines; they’re like robo-grunts, clomping around in what look like giant ski boots and surrounded by exoskeleton machine-gun arms.

VIDEO: ‘Edge of Tomorrow’ Trailer: Like ‘Groundhog Day’ With Aliens and Pain

One warrior doesn’t wear a helmet, ostensibly because she bravely shuns them but perhaps also because she looks so much better without one. She’s Rita Vrataski ( Emily Blunt ), the Achilles of the UDF, the Audie Murphy of the beach, the Joan of Arc who inspires everyone else to fight harder and better. The interplay between her and the inept Cage, as well as the other half-dozen members of J Squad, is moderately amusing at first. He keeps getting killed, but then, thanks to a playing-God-type technological breakthrough, he wakes up on the same morning ready to undertake the same mission again. The process repeats so often that it becomes a time loop that pushes him further and further into the battle, enabling him to do a bit better each time.

More crucially still, Cage catches a glimpse of the Omega, the elusive brain behind the mimics. Vrataski has determined that the only way to win the war is to destroy the Omega, so she and Cage embark upon a rigorous training program, the fruits of which will, as they like to say in movies like this, determine the fate of the planet.

Although the humor helps, the Groundhog Day -like repetition gets tedious; it makes you feel more like a hamster than a groundhog — or rather a hamster’s wheel, going round and round, over and over again. Unfortunately, the final stretch becomes dramatically unconvincing and visually murky, as the valiant duo follow the scent of the Omega to its unlikely hideout under the glass pyramid at the Louvre, where a seriously underwhelming and downright odd final reckoning takes place. If the Omega is so smart, can’t it rewind the results too for a better outcome?

The effects are exciting, convincing and gritty in the chaotic Normandy battle action, which is filmed in a vivid you-are-there style. Supporting-role casting decisions seem to have been based more on humor than brawn, with Gleeson and especially Bill Paxton as the troop leader contributing a healthy amount of levity for this sort of fare.

But these guys essentially disappear in the late-going, leaving it to the stars to do the heavy lifting during the least engaging section, making for a sense of considerably diminished returns. Cruise’s self-deprecation plays well, a good thing in that he’s really too old for this role, while Blunt is toned, burnished and physically refurbished into a blunt object, something she’s never remotely resembled before.

Production company: 3 Arts Cast: Tom Cruise, Emily Blunt, Brendan Gleeson, Bill Paxton, Jonas Armstrong, Tony Way, Kick Gurry, Franz Drameh, Dragomir Mrsic, Charlotte Riley Director: Doug Liman Screenwriters: Christopher McQuarrie, Jez Butterworth, John-Henry Butterworth, based on the novel All You Need Is Kill by Hiroshi Sakurazaka Producers: Erwin Stoff, Tom Lassally, Jeffrey Silver, Gregory Jacobs, Jason Hoffs Executive producers: Doug Liman, David Bartis, Steven Mnuchin, Joby Harold, Hidemi Fukuhara, Bruce Berman Director of photography: Dion Beebe Production designer: Oliver Scholl Costume designer: Kate Hawley Editors: James Herbert, Laura Jennings Music: Christophe Beck Visual effects supervisor: Nick Davis

Rated PG-13, 113 minutes

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• REVIEW: <i>Edge of Tomorrow</i>: Being Tom Cruise, Forever

REVIEW: Edge of Tomorrow : Being Tom Cruise, Forever

T he movie begins with world news services — the BBC, Sky News — reporting the invasion and near conquest of Europe by extraterrestrial entities. Even CNN interrupts its 24/7 coverage of that Malaysian plane, giving Wolf Blitzer a chance to report an actual breaking story. And at the end (no spoiler alert necessary), we learn that “Russian and Chinese troops are moving across Western Europe without resistance.” That’s supposed to be the good news.

So we’re in the movies’ favorite nightmare fantasyland, Armageddon — or, through most of Edge of Tomorrow , a replay of the D-Day invasion, but with Allied forces deploying from London to fight not the Nazis but the Mimics. Described as “a spectacularly evolved, world-conquering organism” and looking like jellyfish or octopuses with limbs resembling Rastafarian locks, these alien beings take on the properties of the creatures they have encountered and assimilated. With tremendous speed and agility, they pop out of nowhere and zap , you’re dead — you and virtually all the other soldiers you hit the beach with. The Mimics can achieve this because they’ve been through this battle many times before and “an enemy that knows the future can’t lose.”

(READ: When Tom Cruise went nuts on Oprah )

The only way to survive, and perhaps save the mission, is to catch a dose of the Mimics’ strength. You die on the battlefield, and then are instantly reborn back at the Heathrow training base, where you sharpen your warrior skills while memorizing every detail of the Mimics’ movements. Landing for the second or hundredth time on the beach, at the exact same future time, you relive your fatal nightmare, but with crucial tweaks: now you can anticipate the enemy’s feints and score some kills. Guiding you is a luscious, superefficient soldier, Rita Vrataski — the Angel of Verdun, or the Full Metal Bitch — though each time you meet her, she doesn’t know who you are.

Tom Cruise is the Groundhog Day grunt, and Emily Blunt the Angel Bitch, in Edge of Tomorrow , a furiously time-looping joy ride and the smartest action film of the early summer season. The movie’s only static element is its title, which oddly suggests a mashup of TV soap operas. Director Doug Liman and screenwriters Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth could have borrowed a name from any number of James Bond films — You Only Live Twice , Live and Let Die , Tomorrow Never Dies , Die Another Day — to describe its hero’s curse and gift. Or they could have kept the title of Hiroshi Sakurazaka’s 2004 source novel: All You Need Is Kill . (It sounds exactly as cool in the original Japanese: O ru Yu N i do Izu Kiru. )

In Steven Spielberg’s 2005 War of the Worlds remake, Cruise was an ordinary dad trying to outrun an alien takeover. In last year’s Oblivion , he was a career soldier battling his own clone. As Major William Cage in Edge of Tomorrow , he is, at first, the anti-Tom. A former ad agency spin doctor, Cage joined the service to create promos that would entice civilians into deadly combat. He’s the Don Draper of World War III.

“I do this to avoid doing that,” he tells the hardass General Brigham (Brendan Gleeson). “Can’t stand the sight of blood. Not so much as a paper cut.” Unlike the gung-ho Maverick in Top Gun , which launched Cruise to stardom 28 years ago, Cage is spoiling not to fight.

(READ: Tom Cruise fights Tom Cruise in Oblivion )

Brigham stockades the reluctant warrior and attaches him to a squad of soldiers due to be dropped on the beach tomorrow. And now he’s a private with a coward’s rep, to be bullied by his master sergeant (Bill Paxton) and his gruff new mates. (Cruise looks great at 51 — he could be a fit 40. Still, wouldn’t his fellow soldiers wonder why a guy approaching middle age has the army’s lowest rank? Answer: No, because it’s a movie! ) With precious little training in weapons operation and maneuvering his bulky robot uniform, Cage lands on the beach and sees his squad promptly wiped out. In one weirdly funny image, a cargo plane drops to the earth, smashing one soldier. This is the Saving Private Ryan beach invasion, played a second time as tragic farce.

Yet on Spielberg’s Omaha Beach, there was no fabulous babe, no female Audie Murphy for an out-of-place, out-of-time soldier to bond with. Rita used to be “in the loop” with the Mimics, but not now: “I had it and I lost it.” But when she realizes that Cage has somehow got on the enemy’s wavelength — a fact she must face anew each time she sees him, since he’s come back from the future — she trains him at Heathrow and fights bravely with him. As the periods of their endlessly repeated first meeting lengthen, they escape the beach for a deserted farmhouse; then the Thames River, infested with swimming Mimics; and finally Paris in search of the Omega Mimic that directs all the others.

(READ: Richard Schickel on Saving Private Ryan )

For most of the film’s two hours, Liman keeps the plot plates spinning with the suave dexterity he showed in Swingers , Go , The Bourne Identity and Mr. & Mrs. Smith . (Liman had a down phase with Jumper and Fair Game , but all his pictures have addressed the lies that are taken as truth and the mystery of even a hero’s personality.) Photographed by Dion Beebe in the desaturated khaki colors of Saving Private Ryan and World War Z , the movie figures its viewers are bright enough to grab the premise and parlays that belief into audience exhilaration. Each succeeding visit to Heathrow or the beach is shorter, sometimes only by a second; the rhythm accelerates vertiginously, the tension tautens. Only toward the climax, when the live-die-repeat cycle is abandoned, does Edge of Tomorrow go logy. But it’s two-thirds of a sensational ride — one you can ride over and over without buying additional tickets.

Revealing the timidity of the X-Men: Days of Future Past premise — one man going back in time to connect with a younger version of an old friend — Edge of Tomorrow is also a metaphor for moviemaking: the film is all about rehearsal, about living and learning (or dying and learning) and gradually turning mistakes into triumphs. Cage has not only read the “script” of the Mimics’ war but has infused it into his central nervous system. In that sense, it’s a demonstration of the 10,000-hours-of-practice theory popularized by Malcolm Gladwell in Outliers . Keep doing something forever and maybe you’ll get it right.

(READ: Lev Grossman on Malcolm Gladwell’s Outliers )

In a complicated scenario with just four prominent roles (Cruise, Blunt, Paxton and Gleeson), the two leading players must radiate star quality and sex appeal. Solemn and toned to the max, Blunt proves a strong partner for an actor who can still earn the sobriquet Tom Terrific. More often than most Hollywood hunks, Cruise steps outside his comfort zone to embrace weird characters — in Magnolia , Lions for Lambs , Tropic Thunder and Rock of Ages. But it’s also cool to see him bend the familiar action-fantasy format and, as he does here, stick the landing.

An aging star can’t push envelopes forever. According to the Internet Movie Database, Cruise is becoming his own Cage, planning to star in the sequels Mission: Impossible 5 , Top Gun 2 and Jack Reacher: Never Go Back . Twist that last title and you have a suitable name for his current, very savory film: Always Go Back .

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Edge Of Tomorrow Review

30 May 2014

113 minutes

Edge Of Tomorrow

On the face of it, there is nothing particularly original about Edge Of Tomorrow. Brush your hand across its gritty surface and you’ll smear the thin layer off a teeming nest of influences: Groundhog Day, the most obvious, for its time-loop plot engine (and by extension Source Code); Saving Private Ryan, for its French-beach brutality; Aliens, Starship Troopers and the Matrix trilogy for its bombastic portrayal of big-tech conflict with multi-limbed, insectoid-biomechanical extra-terrestrials. It’s exquisitely apposite that, if you’re coming to this film from a healthy upbringing on action-sci-fi cinema of the ’80s and ’90s (with Harold Ramis’ clock-resetting comedy being the one rom-com it was okay for you to love), you’ll experience a throbbing sense of déjà vu — only made more acute by the film’s shared chromosomes with last year’s Elysium and that other Tom Cruise-on-a-devastated-Earth picture, Oblivion.

None of which is to diminish Empire’s recommendation: director Doug Liman and his screenwriting triumvirate of Christopher McQuarrie and brothers Jez and John-Henry Butterworth (adapting Hiroshi Sakurazaka’s light novel All You Need Is Kill) wear all these influences well, and with pride. Why else enlist the ever-reliable Bill Paxton as a puff-chested, adage-chewing sergeant if not to wink at his past life as a colonial marine? Edge Of Tomorrow may be hugely familiar, but welcomingly so. And it also proves to be huge fun.

This is in no small part to the movie’s most significant influence of all: video games. While we still await an even remotely decent video game-to-movie adaptation, Edge Of Tomorrow provides the perfect substitute. It may not have spawned directly from any console-based IP, but it is thoroughly steeped in gaming culture and logic — mainly via Sakurazaka himself, who is also a programmer. Lay the film’s plot over a game-design template and you’ll find a pleasingly neat match. When Cage (Cruise) awakens into the first day of his enforced demotion (also the second-to-last of his life), he is effectively starting from a save point. When, eventually, a close encounter on that bloody beach with a tentacle-flailing, blast-furnace mouthed “alpha” — the end-of-level boss — causes his health bar to retract to zero, we snap back to that save point, and he must ‘play’ the two days again. With each replay, he must learn how to survive to reach the next ‘level’ (to ultimately meet the end-of-game boss), although, paradoxically, just as we learn from our mistakes in life, he must learn from his deaths. (If you’ve ever sunk days of playtime into a Dark Souls game, you’re guaranteed to sympathise.)

Part of this is through his power of recollection, plus development of muscle-memory: step left to avoid explosion here, shoot right to eliminate incoming mimic there — every repeated battle is pre-programmed, so he just has to learn the patterns. Then part of it is through a more straightforward regime of personal improvement — or ‘levelling up’ — which comes via Cage ‘unlocking new content’. Having mastered the timing of a roll between a truck’s wheels in one amusing and novel sequence, he is rewarded with access to a trainer (Emily Blunt as seasoned soldier Rita Vrataski) who not only provides him with the necessary information to progress to new ‘levels’, but also enables him to ‘spend’ his ‘experience points’ in her automated dojo.

If this all sounds as mechanical as the exo-suits Cage and his comrades wear, don’t be put off. McQuarrie and the Butterworths have crafted a rich and drily witty script that really takes the edges off the concept. Seemingly throwaway lines accrue layers of meaning as Cage relives, and relives, these two days. “Battle is a true redeemer,” barks Paxton’s sarge at his men; “tomorrow morning you will be baptised. Born again.” A little later, just before being dropped into the hotzone, a fellow grunt yells at Cage, the raw recruit, “I think there’s something wrong with your suit... Yeah, there’s a dead man in it!” So true.

The writers have fun with the whole death-to-progress concept, too. Once Blunt’s combat-hardened Rita joins Cage in his quest, it becomes her job to ‘press quit’ when things go wrong — by shooting Cage through the head. Also, after the plot’s loopy logic is firmly established (which, like any time-travel movie, raises more questions than it provides answers), they employ it to maintain tension: how much does Cage know? Has he been through this scenario before? It’s deliberately never clear just how many lives he’s already gone through to get to any given scene. It is a shame that the deaths themselves aren’t allowed to have more impact. In a previous era, this would have been a 15-to-18-certificate movie that would not have shied away from presenting Cage’s many and varied demises, gore and all. But the commercial pressure to audience-broaden has required Liman to cut away as much as possible, and a visual sense of trauma is lost.

Still, Cruise sells it brilliantly. Indeed, this is his strongest performance in some time and he revels in the character’s development. He starts out as a smug, smirking, weaselly coward, not above trying to blackmail an implacable general (Brendan Gleeson); Cage is so ineffectual, he can’t even switch off the safety on his hand-cannons. During his first drop he stumbles lamely about, watching his comrades die in the dirt, doing little useful to help them. But battle is a true redeemer, of course. So gradually, gradually, the weasel becomes a lion. Although not without a self-serving detour or two along the way.

Blunt, too, is on strong form, exhibiting a steely poise that makes her comfortably believable as a war-propaganda poster-girl known simultaneously as The Angel Of Verdun and Full Metal Bitch. She is less a romantic interest for Cruise (who seems to be going through an English actress co-star phase) than she is his mentor, and his foil. Doug Liman has always been an astute, experimental chemist, and while this isn’t quite the Brad-and-Angie lab explosion of Mr. & Mrs. Smith, it’s at least as strong a pairing as Matt Damon and Franka Potente in The Bourne Identity (which, incidentally, is another movie this comes to echo during one later episode particularly).

After the forgettable Jumper and Fair Game, it’s good to see Liman back on pyrotechnic form, orchestrating some inventive combat spectacle. This could well be his biggest hit yet — and Cruise’s for a good while, too. A rebirth, of a sort, for both of them. If nothing else, it’ll stand out as one of summer 2014’s most entertaining surprises.

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Edge of Tomorrow review

“Live. Die. Repeat.”

It’s a simple concept, one that drives Edge of Tomorrow forward from start to finish. Back when the Doug Liman-directed action film was first announced, it was called All You Need Is Kill (the name of the Japanese novel that  Edge takes its cues from) and the premise was described by some in the know as Aliens meets Groundhog Day . The title eventually changed, but the premise remains: Like that Bill Murray comedy classic, Edge of Tomorrow focuses on one horrific 24-hour cycle in a man’s life, as told and retold on a seemingly endless and fatal loop.

Edge begins years before that fateful day. Archive news footage informs the audience of a massive alien invasion that swept across and demolished most of Western Europe well before the main action of the film. Following the invasion, countries across the globe cast aside their petty differences to unite together against these screeching, multi-limbed aliens, called “Mimics” due to their ability to adapt to the efforts of their human enemies.

Edge has fun with its ability to kill Cruise’s Cage over and over again, mostly consequence-free.

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Hard-nosed General Brigham (Brendan Gleeson) isn’t a fan of cowards, so he’s not a fan of Cage. He orders Cage to the war’s front lines to film a propaganda video during an assault in France designed to wipe out the Mimic threat for good. True to his wormy form, Cage freaks out and runs for the hills. He makes it approximately 20 feet outside of Brigham’s office before he’s captured and sent to Heathrow Airport to report as a deserter, demoted from major to private, and forced to fight in the subsequent day’s campaign.

On the day of the battle, Cage, armed to the teeth with a standard-issue mech-suit that looks like the bastard love-child of Gears of War and Elysium , manages to live long enough to kill an Alpha Mimic, a rare variation of the deadly alien species with time-manipulating abilities coursing through its blood. In killing the Alpha, Cage kills himself, only to reawaken back at Heathrow, doomed to relive the day on a mysterious and endless cycle. Only one person knows what he’s going through: Rita Vrataski (Emily Blunt), better known to her fellow soldiers as “The Full Metal Bitch.”

Edge is a little bit soft and a little bit goofy until the Groundhog Day device kicks in. Once it does, the movie becomes harder and even goofier. Edge is certainly edgy; its depiction of war and violence is very gritty indeed, but it’s sometimes reminiscent of the action of Starship Troopers , a film that is objectively ludicrous on a wonderful scale. For example, there’s one scene featuring a soldier, who likes to hit the battlefield “balls-out” beneath his mech-suit, getting smashed to bits by falling debris. It feels like something straight out of Paul Verhoeven’s 1997 marines-versus-aliens shoot-’em-up.

Likewise, Edge has fun with its ability to kill Cruise’s Cage over and over again, mostly consequence-free. Throughout the movie, Cage is eviscerated on the battlefield, shot in the head by Rita (this happens a lot ), and squashed to death by a moving vehicle (this happens once and it’s fantastic), among other notable kills. The movie is no longer called All You Need Is Kill , but the spirit of that silly yet catchy title remains intact.

Whimsical and visceral fun aside, there’s emotional centeredness here as well, thanks in large part to the connection between Cruise’s Cage and Blunt’s Vrataski. Cruise and Blunt carry the bulk of the film on their shoulders, with smaller roles for other actors, including a highly entertaining but criminally underutilized Bill Paxton as Master Sergeant Farrell from Science Hill, Kentucky. ( Aliens fans will get a kick out of how far Paxton’s come from his Private Hudson days, channeling his inner Apone instead.) Even with a sparse cast, Cruise and Blunt are big enough presences, and have such strong chemistry, that their relative lack of scene partners hardly registers.

It helps that Cruise and Blunt are airdropped into a fully formed world with excellent design. The battle suits are clunky weapons of war, representing humanity’s dying chances against the Mimic threat. The Mimics themselves are reminiscent of the creatures from  Attack the Block,  if they met (once again) the Starship Troopers bugs that is, with enough visual and biological, story-driven differences to make them work on their own.

While the action and stakes keep viewers on the edge of their seats, Edge of Tomorrow ultimately works for the same reasons that Groundhog Day works. It tells the story of a smarmy scumbag forced to confront his weaknesses and become an optimal version of himself. It’s a redemption song that moviegoers have heard time and time again, and it works as well as it ever has here in Edge , thanks to the infusion of some high-stakes action and star-powered performances. But beyond those ingredients, Edge is a success because it follows a weak individual’s transformation from “dead guy in a suit” to deadliest guy in the suit. It’s a very fun transformation to behold.

(Media ©  Warner Bros. Pictures )

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Who is the best actress in Hollywood? If you poll 100 people, names like Meryl Streep, Cate Blanchett, Kate Winslet, Viola Davis, and Frances McDormand will be brought up. However, the most versatile actress in Hollywood is arguably Emily Blunt. The English actress does it all, from summer action movies and rom-coms to dramas and horror. How many actresses could play Mary Poppins, Kitty Oppenheimer, Emily Charlton, and Rita Vrataski? Not many!

Blunt will next appear in October's Pain Hustlers, the upcoming drama that will stream on Netflix as part of its 2023 movie slate. Before Pain Hustlers, here are five great Emily Blunt movies you should watch, including a crime drama from Taylor Sheridan and one of the best mainstream horrors of the last decade. The Devil Wears Prada (2006)

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Edge of tomorrow, common sense media reviewers.

Appealing but violent sci-fi thriller explores time, fate.

A Lot or a Little?

What you will—and won't—find in this movie.

It may seem like a cliche, but it's true: If a

Major William Cage is tenacious and willing to lea

As a key part of the plot, the main character dies

One scene shows a man's naked backside (nonsex

Moderate swearing, including "s--t," &qu

The logo for a British Jaguar automobile is seen.

One scene is set in a bar, with adults drinking an

Parents need to know that Edge of Tomorrow is a thought-provoking sci-fi thriller that steers clear of some of the usual action-movie cliches -- mainly that women are damsels in distress in need of rescuing -- and presents both strong female and male lead characters (played by Emily Blunt and Tom Cruise)…

Positive Messages

It may seem like a cliche, but it's true: If at first you don't succeed, try try try again. Related to that is the message that life can surprise you, even if you think you've seen it all.

Positive Role Models

Major William Cage is tenacious and willing to learn, even if that means confronting his own demons. He does whatever is necessary to save humanity -- including dying every single day. Rita Vrataski is the consummate soldier, willing to put herself on the line for the good of the mission and her colleagues. She's a strong, powerful female character who holds her own in all circumstances. Other characters look up to her as an example.

Violence & Scariness

As a key part of the plot, the main character dies repeatedly, most of the time via a gun to the head. Most of the film is set during loud, intense battle scenes that feature a wide variety of carnage, chaos, and mayhem. A helicopter crash results in a significant death. Constant peril/danger, and many, many people are killed, by bullets, bombs, aliens, catching on fire, being crushed by a plane, and other means, though few of the scenes show anything especially gory or bloody. Also hand-to-hand combat.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

One scene shows a man's naked backside (nonsexual). Two characters share a brief kiss.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Moderate swearing, including "s--t," "a--hole," "hell," and one use of "f--k." One female character is nicknamed Full Metal Bitch.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

Drinking, drugs & smoking.

One scene is set in a bar, with adults drinking and talking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Edge of Tomorrow is a thought-provoking sci-fi thriller that steers clear of some of the usual action-movie cliches -- mainly that women are damsels in distress in need of rescuing -- and presents both strong female and male lead characters (played by Emily Blunt and Tom Cruise ). Expect a constant barrage of intense, chaotic combat as humans battle aliens: Soldiers are bombed, shot, obliterated by fallen debris, blown up by explosives, mangled by creepy aliens, and more. Not a lot of blood is seen, but many, many characters die -- including the main one, who dies over and over (most frequently via a gun to the head) as he learns how to defeat his enemies. There's also some swearing (including "s--t," "bitch," and one use of "f--k") and kissing. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

Community Reviews

• Parents say (13)
• Kids say (71)

Based on 13 parent reviews

common sense media is wrong about this one

Great movie, what's the story.

Based on Hiroshi Sakurazaka's 2004 novel All You Need Is Kill , EDGE OF TOMORROW stars Tom Cruise as Major William Cage, a public relations genius who's never been on the front lines and serves as the official talking head for the U.S. Army's efforts to fight against the Mimics, aliens who've invaded Earth. His job is to sell the war ... that is, until a British general ( Brendan Gleeson ) sends him to battle, an order Cage defies, landing him in hot water. When he finally does see combat, he dies quickly, only to wake up and relive the day over again. Only special forces warrior Rita Vrataski ( Emily Blunt ), the Army's best soldier, can explain what's happening to him.

Is It Any Good?

Don't expect Edge of Tomorrow to make much sense: Its "science" is muddy, mind-boggling, and at times difficult to follow. But that doesn't take away from the appeal of the film, which boasts impressive special effects and an interesting, complicated plot (which is inevitably reminiscent of the excellent Groundhog Day ... which also had a female lead named Rita!). Director Doug Liman knows when to make a joke and when to leave well enough alone, without taking away from the gravity of Edge of Tomorrow 's darker themes.

But the biggest revelation may be Cruise, who reminds us how good he can be when he tackles roles that don't rely solely on his charisma and confidence. Here, he allows himself to be vulnerable and afraid, and it's refreshing. As is Blunt's Rita, a female lead who's finally given enough to do -- sometimes better than her male counterpart. The film's villains remain amorphous throughout, but the leads are compelling, and the movie can't help but entertain.

Talk to Your Kids About ...

Families can talk about how time is manipulated in Edge of Tomorrow . Does it remind you of any other movies? How is it different? Does the movie adhere to the "rules" of time travel?

Rita is a strong female character. How often do you see women like her in action movies? What about movies in other genres?

Talk about the impact of the movie's violence . How does it compare to what you might see in a horror movie? Does it matter that so much of it is large-scale/over the top?

Movie Details

• In theaters : June 6, 2014
• On DVD or streaming : October 7, 2014
• Cast : Tom Cruise , Emily Blunt , Bill Paxton
• Director : Doug Liman
• Inclusion Information : Female actors
• Studio : Warner Bros.
• Genre : Science Fiction
• Topics : Space and Aliens
• Run time : 113 minutes
• MPAA rating : PG-13
• MPAA explanation : intense sequences of sci-fi action and violence, language and brief suggestive material
• Last updated : February 25, 2024

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Movie Review: Edge of Tomorrow (2014)

• Movie Reviews
• 14 responses
• --> June 6, 2014

Scouting for a weakness.

Edge of Tomorrow drops us into the middle of a war against an alien invasion as much as it does its protagonist, Major William Cage (Tom Cruise). We don’t know how or why these aliens invaded, and we don’t see the world react to their initial arrival, already making the film differ from the majority of its counterparts. As the script cleverly inserts into a casual conversation though, the reasoning behind the invasion does not matter — it has to be dealt with regardless. And so, with only a few news broadcasts introducing the situation, we come to realize that the entirety of Europe has been taken over, with the enemy tentatively being held back at the English channel.

Cage is introduced as a cowardly, unlikeable man who does PR in the military, and it is very clear that though he wears a uniform, he is no soldier. When he is unwillingly forced into a situation in which he must become one, we begin to like him more and more, with his learning curve proving sympathetic and often hilarious. This curve is fueled by the fact that he dies almost the instant he lands on the French beach at which the soldiers are dropped, proceeding to wake up again at the military base. Living out the day repeatedly, he begins to pick up things and become a better fighter, and it is this learning aspect of this film that makes Edge of Tomorrow often feel like a video game; the main character dies repeatedly only to try again from a previous point in time, but now with a little more knowledge and experience. The filmmakers are not unaware of this either, tipping their hats to the gaming world with a short POV shot when Cage first fires his gun that strongly resembles the look of a first-person shooter.

When Cage meets Rita Vrataski (Emily Blunt), he soon learns that she has gone through this same experience, and that the aliens’ ability to manipulate time has somehow been passed to him. This means that Cage has the ability to start the whole day over by dying, and together the two use this to try to end the war. Emily Blunt is a welcome addition to the film, perfectly convincing as a strong woman and providing an enjoyable chemistry with Cruise. The character of Rita, however, is not as well developed as it needs to be, instead limited by the situation to being a character of necessity — one whose existence outside of the plot is largely ignored. Admittedly, Cage is also rather two dimensional, with Cruise’s charming and suave nature doing much to stop Cage from becoming mostly uninteresting. For a film that centers so heavily on the repetition of a day, it loses the opportunity to make things more interesting by giving the two main characters more personality.

A heavily armed Cruise.

In terms of action, however, it is hard to criticize Edge of Tomorrow , as it perfectly paces the balance between fighting and dialogue, and doesn’t allow any moment to feel too repetitive — not an easy task with such a plot. The screenwriters take particular care also to keep changing the direction of the film, meaning that it never settles into one pattern for too long, and therefore keeps us on our toes. It’s naturally a reasonably predictable film, but director Doug Liman works well within the boundaries of this, instead using clichés as a foothold for humor. The aliens themselves are refreshingly not humanoid, and are a fascinating visual creation; this is particularly spectacular when watching them rapidly dash around the screen in 3D. Visually, much of the apocalyptic side of the world (mostly French countryside) takes on the same color palette and style as the vast majority of such films, and the metal fighting suits worn by the soldiers are not exactly revolutionary. Nevertheless, particularly noteworthy editing by James Herbert ensures that not only does the action and handling of time flow seamlessly, but that the visual clichés don’t become boring.

Edge of Tomorrow is a big budget action film that almost everyone will enjoy, but few will really remember. It does nothing new in terms of its genre, with Duncan Jones’ 2011 time-jumping action flick “ Source Code ” occupying largely the same area of science fiction. It does, however, manage to repackage itself well enough that it doesn’t seem a chore to get through so much as well-paced entertainment. There are only a few movies that have such a mediocre base but add so many notable smaller aspects that they become genuinely enjoyable and worth watching. This is one of them.

Tagged: aliens , invasion , soldier , time shift

P loves dancing and hates people that don't give a film their full attention. She also uses words like love and hate far too liberally.

Movie Review: Wonders of the Sea (2017) Movie Review: Bel Canto (2018) Movie Review: Night Comes On (2018) Movie Review: Hearts Beat Loud (2018) Movie Review: I Kill Giants (2017) Movie Review: Submission (2017) Movie Review: Permission (2017)

'Movie Review: Edge of Tomorrow (2014)' have 14 comments

June 6, 2014 @ 9:10 am Daily Max

It literally makes no sense but it is still entertaining as hell.

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June 6, 2014 @ 9:28 am RedNProud

I was totally surprised but this is a really good action movie. Cruise’s training sessions counter the mayhem with a fair bit of humor to. I enthusiastically give two unexpected thumbs up for this movie.

June 6, 2014 @ 10:16 am time-theif

When the reboot of Alien comes around, Emily Blunt should have no problem securing the Ripley role. She makes a bad-ass hero.

June 6, 2014 @ 10:52 am Shroob

I didn’t understand the ending but the first 3-quarters of the movie were excellent.

June 7, 2014 @ 2:13 pm Colin

As much as I want to give you my explanation of the ending I fear doing so may spoil it for others. Just think of it as the Omega having abilities above and beyond the Alpha.

June 8, 2014 @ 12:06 pm Disenchanted

The ending was Hollywoodized. Read the light novel “All You Need Is Kill” that the movie is based on for the better ending.

June 6, 2014 @ 11:03 am Writzey

You wouldn’t know it from the trailers but this movie delivers a punch to the nads. Probably the most fun I’ve had in a theater all year.

June 6, 2014 @ 11:20 am Peter Beverly

Cruise has sure picked some winning sci-fi actioners to star in as of late. EoT may be the best yet.

June 6, 2014 @ 10:22 pm Mantion

He gets a lot of shit for his personal life but the guy can pick good scripts AND can act. He is excellent in this.

June 6, 2014 @ 1:39 pm DDago

Looked meh from the tv spots . def going to see this now

June 6, 2014 @ 1:45 pm Henrick

Good comparison to a video game. I thought the same thing when they were planning their exact steps through the beach invasion.

June 6, 2014 @ 4:12 pm bennetta

Shame it isn’t going to get the door swings it deserves. I saw it in an empty theater. Sat for it twice because I could.

June 7, 2014 @ 3:41 pm sasori

It wasn’t marketed correctly, but its real problem is it is going against The Fault in Our Stars. Nothing, not even death, can overcome the power of YA romance.

June 7, 2014 @ 12:55 pm Who is Nell

I loved it. Fucks with your mind just right.

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Edge of Tomorrow review – 'Tom Cruise in a sci-fi Groundhog Day, without the jokes … or the thrills'

D oug Liman's futurist action movie, featuring the zero-chemistry pairing of Tom Cruise and Emily Blunt , is based on a 2004 novel by Japanese SF author Hiroshi Sakurazaka. But there is another more obvious debt from further back. Planet Earth is fighting an alien invasion and Cruise plays William Cage, a slick PR guy given honorary rank as major and permitted to strut about in uniform as he spins the army's campaign strategy to the media.

Irritated by this popinjay on his payroll, General Brigham (Brendan Gleeson) sends Cage to the front, where he must fight alongside legendary badass warrior Rita (Emily Blunt), and then a weird thing happens. Cage drops into a cosmic time loop: he is condemned to fight the first day's battle over and over again, but he gets better and better at fighting, braver and braver,and more and more attractive to the imperious Rita. Just like Bill Murray mastering the piano in Groundhog Day.

Playing the same plot over again may conceivably be Liman's postmodern tribute to the late Harold Ramis's matchless comedy masterpiece, but when Bill Murray repeatedly lived out the same ridiculously banal day, it was (at least partly) a symbol of his emotional stagnancy.

As for Tom Cruise as Cage, well … he starts off bad and winds up good, but really this isn't a metaphor. He drops into a time loop. He fights. He is super-awesome. That's it. It's supposed to be exciting, not funny – although Groundhog Day was exciting and funny.

The comedy there derived from existential horror at being forced to re-examine ordinary reality in such detail. Edge of Tomorrow is quite different; it is basically deadly serious, and after some moderate knockaboutfun, settles into something pretty dull. Where's the edge?

• Edge of Tomorrow
• Science fiction and fantasy films
• Action and adventure films
• Emily Blunt
• Brendan Gleeson

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• DVD & Streaming

Edge of Tomorrow

• Action/Adventure , Drama , Sci-Fi/Fantasy , War

Content Caution

In Theaters

• June 6, 2014
• Tom Cruise as Cage; Emily Blunt as Rita; Brendan Gleeson as General Brigham; Bill Paxton as Master Sergeant Farell

Home Release Date

• October 7, 2014

Distributor

• Warner Bros.

Movie Review

Major Bill Cage isn’t a muscle-bound hero type. In fact, he’s always been more of a behind-the-desk kind of soldier. He’s a former advertising guy who feels more comfortable creating PR videos and great-sounding press releases for the six o’clock news. But storming a beach with a rifle in hand? Ha. Not quite.

So when General Brigham suggests Cage and his camera crew be embedded in an upcoming military surge, all the major can do is try not to laugh out loud.

I mean, com’on! Yes, this war against the alien hordes has been raging on for a long, long time. And, yes, the public probably does need something to bolster moral, especially after nearly all of Europe got gobbled up. But there ain’t a chance Major Bill Cage is gonna go out there into the middle of it all, never mind direct orders.

Why, he can’t even stand the sight of blood, particularly his own. So if this general guy thinks he’s going to threaten and harangue him out to the front lines, well, Cage’ll just have to start doing some threatening of his own. After all, he’s got the skills to pin the blame for a failing war effort on anyone he pleases. So a certain, ahem, general had better watch his words.

Just like that, Cage is arrested, stripped of rank and slapped in chains …

… and he wakes to find himself in a staging area at London’s Heathrow Airport.

He’ll be going out with the forces the next day after all, it seems. But instead of being an officer on a special mission, he’ll be just another grunt strapped into one of those new exoskeleton weapon thingies. In other words, he’ll be a dead man.

Indeed, when the next day’s battle arrives, Cage hits the beach landing point and starts running for his life. He can’t even figure out how to switch the safety off on his suit-mounted guns. He’s a sitting duck, and he’s dead within five minutes.

Just before the end arrives, though, through sheer luck, Cage does manage to release that safety and let some firepower loose on one of those larger, more threatening Alpha creatures in the alien pack. The two of them, man and beast, die together, their blood mingling …

… and Cage wakes to find himself in a staging area at Heathrow.

Wait a minute. Or maybe wait a whole day! Didn’t this already happen? It seems so familiar. The barking sergeant, the prep for battle. And before you know it, Cage is right back out there on the beach, running for his life. Of course he knows where the safety switch is this time. And he fairs a bit better. For a little while longer. You know, maybe six minutes. Then he dies again …

… and wakes up in a staging area at Heathrow.

Three, four, five, 105 times. Waking, prepping, dropping and dying. Over and over, Cage keeps going through the same 30-hour loop. Like some kind of long-play iPod tune stuck on repeat. A killer case of deja vu. Waking, prepping, dropping and dying.

Each time, though, he learns something new. And he starts to figure out how to outthink the patterns, how to break them. He knows where the bombs will blow and where the creatures will leap. And he keeps getting farther up the beach before …

… he wakes up at Heathrow.

Then he runs into Rita Vrataski. She’s the Angel of Verdun, the only soldier to actually lead a successful surge against the attacking aliens. Cage saves her life, if you can believe it. He had seen the creatures attack Rita before he dies during a previous cycle. So he steps right up and blasts them this time as they emerge from hiding.

After Cage moves through his list of pinpoint precision kills, Rita looks at him with a slack jaw. Is it a look of recognition? Does she know something he doesn’t? And just before the transport blows up next to them she says, “Find me when you wake up.”

Positive Elements

Cage does find Rita after he wakes at Heathrow, and their partnership sets him on a slow path to becoming a better soldier and a better man. As time goes on (or doesn’t , as the case may be), we see him and others giving their all to battle their relentless foe, fighting fearlessly for those around them. Cage grows to selflessly love Rita, and he becomes committed to doing absolutely anything to find a way to save her … along with all of mankind. He’s not alone in that later goal: A number of soldiers are willing to stand fast in hopeless situations to further that aim.

Though Rita doesn’t remember the many looped days that Cage knows, she soon comes to immediately re-recognize his blossoming goodness and trustworthiness.

Sexual Content

Cage slyly talks to Rita about somehow transferring the alien DNA (the time-looping substance that found its way into his bloodstream) from one human to another through bodily fluids. She catches on that he’s suggesting they have sex … and quickly shuts him down, letting him know that she’s tried it before and it doesn’t work.

Somebody makes a coarse crack about hooking up with two girls at once. Rita wears a flak vest that reveals quite a bit of her bare back. A soldier suits up in his mech armor without his uniform, allowing the camera to catch a glimpse of his bare backside. Several guys are seen shirtless in their barracks.

Violent Content

Blasting, pummeling images of war, its dead and dying clutter the screen. And because of the looping/time-travel conceit, some characters—particularly Cage and Rita—are seen being killed over and over and over again, each death a slight variation of the last.

Those deaths include percussive explosions, impalements from creature tentacles, and images of our heroes being strafed by shrapnel and banged by large mechanical devices and vehicles. A number of times we see one or the other of them lying prone, dead with a glazed-over expression.

As Rita quickly tries to train Cage and bring him up to speed as a soldier, he’s battered relentlessly—bones routinely breaking. In each case it’s recognized that Cage must “die” in order to restart the day and thus get on with the important training process, so Rita casually shoots him in the head whenever he’s hurt. (We generally see her point the gun at the camera and pull the trigger.)

Quantities of people die in huge explosions. A guy is crushed (several times) by a gigantic crashing transport plane. An airborne vessel blows up in repeated loops, burning soldiers and sucking them out through a hole torn in the craft’s side. Swirling tentacled creatures (called Mimics) grab and throw men and women around like crumpled wads of paper. A man detonates a Mimic with a Claymore land mine held to his chest between them. Two soldiers use a Claymore to destroy a fuel truck, enveloping themselves and a number of the aliens in an eruption of flame and shrapnel. Machine guns and RPGs do their share of damage. A man is knocked out by a Taser and run over by a truck. Rita wields a large sword, using it to hack into the Mimics on a regular basis. Cage is dragged a long distance, dangling outside a fast-moving craft by one arm. He slams a multi-needled transponder device into his leg.

Crude or Profane Language

In the heat of battle, one (unfinished) f-word and four or five s-words are joined by a handful each of “a‑‑,” “b‑‑ch,” “b-llocks” and “b‑‑tard.” God’s name is misused three or four times (once with “d‑‑n”), Christ’s twice. We repeatedly see posters of Rita that sport the slogan “Full Metal B‑‑ch.”

Drug and Alcohol Content

Cage drinks a beer at a bar.

Other Negative Elements

Cage’s repeated deaths are sometimes played for laughs.

While at the screening for this Tom Cruise actioner, I overheard someone say that Edge of Tomorrow was sort of a combination of the romcom fantasy Groundhog Day and the sci-fi blaster Starship Troopers. And that’s likely to be the type of cinematic comparisons many will make. But this pic is neither as lightheartedly silly as the former flick, nor as gruesomely splattering as the latter.

What we have here is a well-crafted, well-acted, explosive chunk of summer entertainment. The film captures the broad spirit of the Japanese light and graphic novels (All You Need Is Kill) it’s based on, telling the story of a guy who starts out fearful and self-centered, then reshapes himself into a bona fide hero willing to do anything to protect those he loves. He does this, of course, by reliving a repeating loop of painful preparation and devastating war.

There’s a love story at play here, too. But it’s an unrequited love that Major Cage feels. As he joins in the battles beside the hard-fighting Rita, he starts to learn more and more about her and come to care for the woman behind the warrior. While for Rita, it’s always their first day together.

Edge of Tomorrow tries hard to keep the most grisly and gory things on the battlefield out of the camera’s view, but Cage’s repeated visits to the same war-torn beach landing is still intense . Cage and almost all of his compatriots are crushed, battered, thrown and blasted repeatedly … crushed, battered, thrown and blasted repeatedly … crushed, battered, thrown and blasted repeatedly.

Taking things one step further into the “hell of war,” the idea of Rita herself doing the “honors” of killing him during training each time he’s injured brushes up uncomfortably close to the real-life moral quandary of thinking death might be a path toward “solving” our problems or merely thinking of it too casually.

Amid that, though, this is unquestionably a tale of bravery. It’s a movie that clearly tells us there are things worth fighting for. That there are those worth protecting. That even the meekest among us can make a difference if we reach far enough and try hard enough to do what’s right.

Those are all things we need to hear over and over again.

After spending more than two decades touring, directing, writing and producing for Christian theater and radio (most recently for Adventures in Odyssey, which he still contributes to), Bob joined the Plugged In staff to help us focus more heavily on video games. He is also one of our primary movie reviewers.

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Edge of Tomorrow Reviews

The joy of Edge of Tomorrow is that there are many endings, and in most of them Tom Cruise’s smirk vanishes from the screen forever to trouble us no more.

Full Review | Mar 18, 2024

Endlessly entertaining and ceaselessly innovative

Full Review | Original Score: 3.5/4 | Feb 15, 2023

Up to that forgivably underwhelming finale, Edge neatly synthesizes Cruise's ongoing fears of obsolescence and the fiscal pragmatics of its location into a witty story about the sheer tedium of self-improvement as a necessity for survival.

Full Review | Jan 24, 2023

There’s some good science fiction, strategic funny moments, exhilarating action, and a smart and sharp story that never grows dull.

Full Review | Original Score: 4.5/5 | Aug 20, 2022

Regardless of the various other films that Edge of Tomorrow could be compared to, the end result feels strangely unique, and not for a moment during its two-hour runtime does it lose the audience to thoughts of its influences.

Full Review | Original Score: 3.5/4 | Aug 15, 2022

There's a certain unexpected humor coming out of "Edge of Tomorrow" that boosts its doom-and-gloom alien invasion setup.

Full Review | Original Score: 4/5 | Aug 14, 2022

Doug Liman’s sci-fi action thriller remains one of the most enjoyable American blockbusters of the previous decade.

Full Review | Jul 8, 2022

Edge of Tomorrow: Live. Die. Repeat manages to keep audiences on the edge of their seats in this WWII-esque sci-fi action thriller.

Full Review | Original Score: 4/5 | Jul 5, 2022

Edge of Tomorrow is a rousing adventure filled with pulse-pounding thrills and surprising dashes of character-driven humor, the film a breathless two hours of fun worth celebrating.

Full Review | Original Score: 3/4 | Jul 5, 2022

Even if I can’t forgive the ridiculousness of the final moments of "Edge of Tomorrow" ... everything leading up to that ending still rules and does so even harder with the improved picture and sound.

Full Review | Jul 4, 2022

Death becomes Tom Cruise in Edge of Tomorrow, a gripping and meticulously constructed futuristic thriller that finds his untested soldier fighting aliens while stuck in a time loop.

Full Review | Jan 22, 2022

A fascinating premise with a disappointing visual style.

Full Review | Original Score: 3.5/5 | Dec 1, 2021

Episode 37: Edge of Tomorrow / Forbidden Planet / High Life

Full Review | Original Score: 84/100 | Oct 4, 2021

The Angel of Verdun is an action heroine with the skills needed to ride into battle, but the empathy to reach out to the partner she just met.

Full Review | Mar 19, 2021

The first two reels are packed with energy and invention it's only when the conventions that made the story enticing are put aside in the last reel that the movie becomes a standard Cruise action flick.

Full Review | Original Score: 4/5 | Feb 1, 2021

Unexpectedly clever surprises keep the anticipation and mystification rolling, while the action sequences are plentiful and intense.

Full Review | Original Score: 7/10 | Dec 4, 2020

On face value, Doug Liman's Edge Of Tomorrow deals with familiar tropes - of a war for the planet and time loops and alien invasions - but it's brilliantly executed with some fantastic combat sequences.

Full Review | Oct 27, 2020

Edge of Tomorrow is proof, once again, that Cruise can certainly be knocked down but can never be counted as completely out.

Full Review | Original Score: 3.0/4.0 | Sep 7, 2020

Liman deftly orchestrates the destruction, ensuring it doesn't sink into mind-numbing Transformers fare. Blunt and Cruise invest a great deal of heart in their action heroics, thankfully minimising the hokum romance angle.

Full Review | Original Score: 4.5/5 | Aug 26, 2020

The strength of the lead performances and the inventive use of sci-fi conventions make this better than the usual mainstream fare.

Full Review | Original Score: B+ | Jul 21, 2020

Edge of Tomorrow (United States/Australia, 2014)

As improbable a concoction as it might seem, Edge of Tomorrow is a curious mix of ingredients from the 1993 Harold Ramis/Bill Murray comedy, Groundhog Day , and James Cameron's 1986 sequel to Alien . An Earth-versus-aliens tale set in the near future, Edge of Tomorrow offers a time travel twist to its proceedings. Unlike many movies that toy with journeys through the fourth dimension, this one doesn't dwell on paradoxes and, at least until a tacked-on epilogue, plays by its own rules. Like last year's Oblivion , Edge of Tomorrow gives Tom Cruise an opportunity to play an action/hero role in a science fiction playground. Because the script is smarter (based on a Japanese graphic novel called "All You Need is Kill" by Hiroshi Sakurazaka), Edge of Tomorrow offers a more satisfying cinematic experience than Oblivion .

Edge of Tomorrow uses the popular faux news footage montage to set up the story. Earth has been invaded by extraterrestrials dubbed the "mimics" and all of Europe is in enemy hands. After losing battle after battle, the United Defense Forces have finally scored a victory at Verdun. Emboldened by the army's success, General Brigham (Brendan Gleeson) has decided on an all-out assault led by war hero and media darling, Rita Vrataski (Emily Blunt). To "sell" the attack to the planet, Brigham enlists the talents of army publicist Major William Cage (Tom Cruise), who he intends to send to the front line with a camera crew. Cage, unwilling to put his life on the line, refuses the direct order and ends up being busted in rank on trumped up charges, thrown into an infantry unit, and sent into the thick of the fighting.

When set upon by a member of a special mimic subspecies, Cage uses an explosive to destroy the creature. In the process, he kills himself… then awakens back at the beginning of his ordeal and has to endure the entire day another time. He dies again, is reborn again, and the cycle persists. It's déjà vu without end. Each time, Cage is able to use his memories of the battle to survive longer, until he eventually contacts Rita and learns that she knows something about his situation. "Come find me when you wake up," she tells him before they are both killed.

Few things in a movie can get older faster than repetition. No one wants to watch the same scene, even with variations, over and over and over. To overcome this hurdle, director Doug Liman ( The Bourne Identity ) borrows some of the tricks employed by Ramis in Groundhog Day - showing just enough of a scene to make it clear we're in another iteration of the loop, then skipping ahead to the point when things start to change. This keeps everything flowing and discourages a flagging of the momentum. It also allows for moments of gallows humor. Those who don't care for Tom Cruise may derive some satisfaction from this aspect of the screenplay: Cage is killed several hundred times during the course of Edge of Tomorrow . Visually, the film, which transpires in London, has its share of impressive moments, although the special effects don't completely dominate. The 3-D makes good use of spatial relationships but unfortunately degrades the darker scenes.

The main thrust of Edge of Tomorrow focuses on Cage's use of his immortality/time reset ability to locate the aliens' "brain" and find a way to win the war. That's straightforward; what's more subtle and potentially more interesting is how the relationship between Cage and Rita develops. Each time they meet, Rita's interaction with Cage is reset from her perspective. She doesn't know him. For him, however, it's the continuation of a growing relationship. He becomes familiar with her to the point where he develops deep feelings. For her, however, he's always a stranger. The growing disparity between how they view each other fuels their interplay later in the story. Reticence conflicts with intimacy.

The part of Cage is in Cruise's wheelhouse; he could probably do this kind of role in his sleep. The one out on a limb is Emily Blunt, whose kick-ass interpretation of Rita recalls a couple of strong James Cameron heroines: Sigourney Weaver's Ripley and Linda Hamilton's Sarah Connor. Blunt, who often does "softer" roles, is credible as the Hero of Verdun. Brendan Gleeson, as the general in charge of the war, and Bill Paxton, as Cage's commanding officer, are both excellent in supporting roles.

Movies that employ time travel as a plot device often become exercises in mental agility. That's not the case with Edge of Tomorrow , which uses a straightforward approach. The explanation for Cage's ability is explained in a clear, uncluttered fashion and the manner in which his days unfold are no more confusing than those in Groundhog Day . There's plenty of action and, despite the fact that much of it is repeated, it never becomes repetitive. Edge of Tomorrow is clever enough that the viewer doesn't have to feel embarrassed sitting in the audience but not so clever that there's no fun to be had.

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Edge of Tomorrow

By Peter Travers

Peter Travers

It shouldn’t work. A human-versus-aliens epic that keeps repeating the same scene over and over again as if the comic tilt of Groundhog Day had turned suddenly dangerous. But Edge of Tomorrow will keep you on edge. Guaranteed.

Tom Cruise had me at hello, playing Maj. William Cage, a glorified PR guy in uniform. During an interview with hawklike Gen. Brigham (Brendan Gleeson, chewing hungrily on a tasty role), Cage is condescending as hell, offering to help the general with his image in a war that seems unwinnable. Instead, the general sends the combat-unready Cage into battle. Effective immediately.

It’s a treat to watch the typically heroic Cruise lose his shit, sweating and panicking at the thought of getting up close and personal with an alien race called Mimics. Cage, buried in combat armor and handed weapons no one has trained him to use, goes kicking and screaming into the alien fray, crying foul to his commanding officer (Bill Paxton). Yet there he is on a beach in France, ducking CGI creatures that look truly terrifying and staring in horror as Rita Vrataski (Emily Blunt), a military goddess, is massacred. Cage dies next.

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You heard me. He dies. Until director Doug Liman, channeling the cinematic pizazz he brought to The Bourne Identity , hits the reset button. Cage is forced to relive that same day until he gets it right. That means getting to Rita before the battle in question, persuading her to train him for combat and then, of course, falling in love. The cornball stuff never gets in the way, thanks to Blunt’s grit and grace. She’s a force of nature.

Working from an exuberantly clever script that Christopher McQuarrie ( The Usual Suspects ) and Jez and John-Henry Butterworth adapted from Hiroshi Sakurazaka’s 2004 novel All You Need Is Kill , Liman keeps the action and surprises coming nonstop. OK, the end is a head-scratcher. Until then, Cruise and Blunt make dying a hugely entertaining game of chance.

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