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Edge of Tomorrow

2014, Sci-fi/Action, 1h 53m

What to know

Critics Consensus

Gripping, well-acted, funny, and clever, Edge of Tomorrow offers entertaining proof that Tom Cruise is still more than capable of shouldering the weight of a blockbuster action thriller. Read critic reviews

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When Earth falls under attack from invincible aliens, no military unit in the world is able to beat them. Maj. William Cage (Tom Cruise), an officer who has never seen combat, is assigned to a suicide mission. Killed within moments, Cage finds himself thrown into a time loop, in which he relives the same brutal fight -- and his death -- over and over again. However, Cage's fighting skills improve with each encore, bringing him and a comrade (Emily Blunt) ever closer to defeating the aliens.

Rating: PG-13 (Intense Seq. of Sci-Fi Action|Brief Suggestive Material|Intense Seq. of Sci-Fi Violenc|Language)

Genre: Sci-fi, Action

Original Language: English

Director: Doug Liman

Producer: Erwin Stoff , Tom Lassally , Jason Hoffs , Gregory Jacobs , Jeffrey Silver

Writer: Christopher McQuarrie , Jez Butterworth , John-Henry Butterworth

Release Date (Theaters): Jun 6, 2014  wide

Release Date (Streaming): Nov 10, 2015

Box Office (Gross USA): $100.2M

Runtime: 1h 53m

Distributor: Warner Bros. Pictures

Production Co: 3 Arts Entertainment

Sound Mix: Datasat, Dolby Digital

Cast & Crew

Major William Cage

Emily Blunt

Rita Vrataski

Brendan Gleeson

General Brigham

Bill Paxton

Master Sergeant Farell

Jonas Armstrong

Franz Drameh

Dragomir Mrsic

Charlotte Riley

Masayoshi Haneda

Terence Maynard

Cruel Sergeant

Noah Taylor

Lara Pulver

Madeleine Mantock

Christopher McQuarrie

Screenwriter

Jez Butterworth

John-Henry Butterworth

Erwin Stoff

Tom Lassally

Jason Hoffs

Gregory Jacobs

Jeffrey Silver

Executive Producer

David Bartis

Joby Harold

Hidemi Fukuhara

Bruce Berman

Cinematographer

Oliver Scholl

Production Design

James Herbert

Film Editing

Laura Jennings

Kate Hawley

Costume Design

Christophe Beck

Original Music

News & Interviews for Edge of Tomorrow

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Sunny Suljic’s Five Favorite Films

Rank Emily Blunt’s 10 Best Movies

Critic Reviews for Edge of Tomorrow

Audience reviews for edge of tomorrow.

The movie makes good paths between what happens now , why is that like it and little dramatic pinches of waiting for the next step of the stoty. It really is nice to watch and mostly very nice.

Very surprising film. Fun (and Funny), smart, well acted with very good thrilling action sequences. If you are a fan of sci-fi or action movies in general then this film is for you! Two Thumbs up!

Exceeded my expectations

"Edge of Tomorrow" is an exciting Sci-Fi film of 2014. "Edge of Tomorrow" has amazing acting from "Tom Cruise" and "Emily Blunt". The plot to "Edge of Tomorrow" is great; there are hardly any scenes that aren't entertaining to watch. The music in "Edge of Tomorrow" is thrilling; it makes scenes even more exciting. The special effects in "Edge of Tomorrow" are flawless, no green screens are visible, and C.G.I. is unnoticeable. I highly recommend you watch "Edge of Tomorrow" as it is an amazing Sci-Fi film of 2014. I give "Edge of Tomorrow" a 9/10.

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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.
• An alien race has hit the Earth in an unrelenting assault, unbeatable by any military unit in the world. Major William Cage (Cruise) is an officer who has never seen a day of combat when he is unceremoniously dropped into what amounts to a suicide mission. Killed within minutes, Cage now finds himself inexplicably thrown into a time loop-forcing him to live out the same brutal combat over and over, fighting and dying again...and again. But with each battle, Cage becomes able to engage the adversaries with increasing skill, alongside Special Forces warrior Rita Vrataski (Blunt). And, as Cage and Vrataski take the fight to the aliens, each repeated encounter gets them one step closer to defeating the enemy! — Warner Bros. Pictures
• When an alien race called Mimics invades and destroys Europe, London is the last resistance in the Old Continent. General Brigham plans an attack to France expecting to defeat the Mimics and orders Major William Cage, who is an American public relation officer, to cover the invasion. However Cage does not accept the assignment and threatens General Brigham to expose the casualties. He is arrested, accused of desertion, demoted to private and assigned to fight in the invasion under the command of the tough Sergeant Farell in the Heathrow Base. Humans are slaughtered in the invasion and Cage kills a Mimic and is sprayed by his blood; in less than five minutes combat, Cage dies. Surprisingly he awakes in the Heathrow Base and relives the same day over and over after dieing. Each time, Cage tries to fix the deaths of his squad and he meets Sergeant Rita Vrataski who asks him to find her when he awakes in the base. Rita brings Cage to meet Dr. Carter who explains to him that he killed an Alpha and his blood has given the ability to reset time. Further, the last hope of earth is the destruction of the Mimic leader, referred to as the Omega, who is hidden. Will Cage and Rita succeed in their solitary mission? — Claudio Carvalho, Rio de Janeiro, Brazil
• Before the numbing technological superiority of the omnipotent extraterrestrial menace known only as the "Mimics", mankind stands helpless, doomed to accept an ignoble fate. Having harnessed an unfathomable ability, the hordes of the ferocious alien race are practically invincible; unless we, humans, come up with an unexpected and drastic counter-attack. When the unseasoned officer, Major William Cage, learns firsthand the magnitude of the problem with his own life, he quickly realises that death is only the beginning--each blood-drenched battle with the formidable foes brings him back to square one, only with a dash of improvement in his fighting capacity. Perhaps now, Cage, his legendary brother-in-arms, Rita Vrataski, and the rest of the world have a fighting chance against the otherworldly opponent. Can we solve the enemy's enigma? — Nick Riganas
• A race of aliens called Mimics has taken over continental Europe. General Brigham (Brendan Gleeson), head of humanity's United Defense Force, orders Major William Cage (Tom Cruise), a public affairs officer and former advertising executive, to cover combat on the beaches of France during the next day's assault on the Mimics. Cage objects to the dangerous assignment and threatens to use his public relation skills to turn the public against Brigham when the casualties start increasing from the invasion, for which he is arrested and knocked out. He wakes in handcuffs at a forward operating base at Heathrow Airport and discovers he has been labeled a deserter and put on combat duty, as a private, for the invasion of France under the command of Master Sergeant Farell (Bill Paxton). The invasion is a disaster for the humans. Cage manages to kill a large Mimic, but dies as he is sprayed with its acid-like blood. He then wakes up at Heathrow the previous morning. No one believes his story that he knows the invasion will fail. He repeats the loop of dying on the beach and waking at Heathrow until he encounters Sergeant Rita Vrataski (Emily Blunt), who recognizes his ability to anticipate events and tells him to locate her the next time he "wakes up". Cage finds Vrataski at Heathrow. Together they meet with Dr. Carter (Noah Taylor), a former government scientist and expert in Mimic biology. Cage learns that the kind of Mimic he killed in his first loop, an "Alpha", resets time when it is killed to give the Mimics an advantage in battle. Cage inherited this ability when he was doused in the Alpha's blood as they both died. Vrataski had this ability in a previous battle in Verdun but lost it after receiving a blood transfusion. Vrataski tells Cage that the Omega wanted humans to believe that they could win, so it allowed Vratasky to win in Verdun, so that humans put everything into their battle at France & get beaten. She tells Cage that they must hunt the Mimics' hive mind, the Omega & until that day Cage has to die each day to reset time. Carter tells Cage that the Omega has lost power to reset time to Cage & will be mentally looking for him. When Omega finds Cage, Cage will start having visions of the Omega's location. Over succeeding loops Vrataski trains Cage into a more effective soldier. After getting discouraged from these loops he travels to London, there he realizes and sees the Mimics were planning on overrunning London during the invasion on the beach. He and Vrataski spend several loops learning how to survive the battle on the beach and get inland based on his vision of the Omega hiding in a Bavarian Alps dam. After numerous loops end in Vrataski's death, Cage decides to hunt the Omega alone, abandoning her and the rest of the invasion to doom on the beach. When he arrives at the dam, he discovers that the Omega is not there. He manages to kill himself before an Alpha can steal his blood and prevent him from resetting the day. Back at Heathrow, he tells Vrataski and Carter that his vision was a trick. Cage and Vrataski adopt a new approach: they infiltrate the Ministry of Defence in search of a prototype built by Carter that will allow Cage to discover the Omega's true location. The device is a transponder which once attached to an Alpha, finds the location of the Omega. After several failed loops they obtain the device from General Brigham, which reveals that the Omega is located under the Louvre Pyramid in Paris (Cage stuck the device in his leg to activate the prototype as he is an Alpha now). They are injured as they flee & both are knocked unconscious so Rita is unable to kill Cage this time when he get injured. Cage's life is saved by a blood transfusion, but it removes his ability to reset the day. Vrataski frees Cage and they return to Heathrow, where they convince his squad to help destroy the Omega. The team is given instructions not to kill the Alpha, as if an Alpha is killed, the Omega will reset the day & will know in advance of the squad's attack on Louvre. The other squad members sacrifice themselves to get Cage and Vrataski beneath the Louvre. Vrataski distracts a waiting Alpha while Cage advances on the Omega. The Alpha kills them both, but not before Cage primes and drops a grenade belt into the Omega's core, destroying it and neutralizing the other Mimics. Cage's body absorbs the Omega's blood. He wakes up en route to his meeting with Brigham the day before. Brigham announces that Mimic activity has ceased following a power surge in Paris. Cage is never arrested and he goes to Heathrow, where he finds his squad mates, including Farell. None of them recognize him and treat him respectfully as an officer, as he is once again a Major. He meets Vrataski, who does not recognize him either. She asks what he wants, as she had many times before, and he smirks and laughs.

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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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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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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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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

• Film Review: ‘A Hologram for the King’ 8 years ago
• Cannes: A Look at the Official Selection, by the Numbers 8 years ago
• Film Review: ‘Captain America: Civil War’ 8 years ago

“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.

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 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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Edge of Tomorrow is the best movie there is about what it’s like to be Tom Cruise

Cruise finally stopped making hard work look easy

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There are no other movie stars like Tom Cruise . And despite his litany of hits across an over 40-year career, there’s no better movie to explain his stardom than 2014’s Edge of Tomorrow .

Director Doug Liman ’s future-set action movie about humanity’s war with robots casts Cruise daringly against type as Cage, a stiff bureaucrat in a suit, terrified, cruel, cowardly , and almost completely incapable… at least, at first. But when he suddenly gets the power to reset to a certain moment in time when he dies (and with a little training from Emily Blunt’s legendary war hero), he slowly begins to learn how to fight, how to lead, and how to win the war. It’s basically Groundhog Day with robots, guns, and giant swords .

But beyond just being an incredibly kickass action movie — which it is — Edge of Tomorrow is also an incredible deconstruction of Cruise as an actor. For years, Cruise’s on-screen MO has been effortless charm and talent. He was a brilliant lawyer who won an impossible case the instant he decided to try in A Few Good Men , he was a pool shark who could beat the pros in The Color of Money , and he was the best pilot at a school full of the best pilots in Top Gun . But Edge of Tomorrow was the first movie to let us in on a secret Cruise would spend the entire decade after exploring: Appearing effortless takes a tremendous amount of work.

Edge of Tomorrow is like a movie made of behind-the-scenes footage. It’s the cinema of grueling, endless hard work, and the incremental improvements determination can get you. Cage dies over and over and over again. His development as a savior of humanity is, like anyone’s development at anything, decidedly nonlinear. Sometimes he makes genuine progress, getting a few feet further into the battlefield before the robots mow him down. Other times, he tries something new and dies faster than he ever has before. But even in those failures, Cruise’s trademark focus comes through — in his tight-lipped sneers or the way he tenses his jaw and narrows his eyes — and we see the improvement building. And slowly, by the end of the movie, Cage looks as effortless in battle as Tom Cruise felt in the ’80s.

And that effort — the hard work and grueling failure — is the real secret to Cruise’s success . Watch any behind-the-scenes footage of his Mission: Impossible movies and it’s impossible not to see little bits and pieces of Cage in there. In fact, a major part of the promotional campaign for Mission: Impossible – Dead Reckoning Part One was how many attempts it took for Cruise to nail the stunt where he jumps a motorcycle off a cliff and parachutes away .

Hard work is more than just a part of Cruise’s movies now; it’s baked into why he wants you to see them. He’s way beyond effortless cool now, and we have Edge of Tomorrow to thank for that. Now that he’s in the latter half of his career, Cruise is finally ready to let us know that he’s not just the biggest star in Hollywood, but the hardest-working one, too.

Edge of Tomorrow is streaming on Apple TV Plus, or rentable on Amazon , Apple , and Vudu .

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'Edge of Tomorrow' Works Because Tom Cruise Is Playing a Coward

Major William Cage is not like Ethan Hunt!

The Big Picture

• Tom Cruise's role as Major William Cage in Edge of Tomorrow showcases his comedic talent and his range beyond typical action hero roles.
• The film allows Cruise to have a genuine character arc, demonstrating self-sacrifice and bravery.
• Cruise and Emily Blunt's dynamic chemistry enhances the film's narrative and adds depth to their characters.

Tom Cruise has been one of the biggest movie stars in the world for four decades, but he’s somehow having a new renaissance in his career over the past decade. While Cruise’s string of hits in the 1990s emphasized his ambition to work with auteur filmmakers and give versatile performances, it seems like Cruise’s current work is only in service of the audience. Cruise continues to push himself to deliver outrageously entertaining maximalist spectacle , and the success of the last few Mission: Impossible films and Top Gun: Maverick indicate that audiences will follow him no matter where he goes. Interestingly, one of the more underrated films from this era is the sci-fi action flick Edge of Tomorrow , in which Cruise took a completely different type of challenge — he had to play a coward.

Edge of Tomorrow

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

What Is 'Edge of Tomorrow' About?

Directed by Doug Liman , Edge of Tomorrow takes place in 2015 when a group of alien invaders known as “Mimics” have taken control of Europe, forcing troopers to head to the frontlines in mech-suits to ward off their seemingly brilliant opponents. Major William Cage (Cruise) is simply a “public affairs” officer with no combat experience who aims to use his superior position to avoid duty, but he’s punished and sent directly to the frontlines. After attempting to desert, Cage finds himself squarely under the command of the no-nonsense veteran Sergeant Rita Vrataski ( Emily Blunt ). Although they’re initially at odds, Cage finds that he must seek Rita’s help if he’s to escape the time loop he’s been caught in, wherein he keeps dying and coming back to life only to repeat the same day over and over .

Edge of Tomorrow sets up a premise that borrows from both Groundhog Day and Independence Day , but Cruise’s performance is a lot closer to Bill Murray ’s Phil Connors than Will Smith ’s Steven Hiller. He’s a reluctant hero who doesn’t even want to be a hero, which couldn’t be more different from Ethan Hunt or Pete Mitchell. The use of the time loop trope allows Cruise to have a genuine character arc where he has to prove himself, learn new skills, and discover the value of self-sacrifice and bravery. It also allowed him to flex his comedic chops in a way that he hadn’t been able to since his work in the 1990s. Cruise’s dynamic performance as a lovable loser makes Edge of Tomorrow rank among the most entertaining original blockbusters in recent memory.

'Edge of Tomorrow' Shows Off Tom Cruise's Comedic Abilities

Despite being one of the biggest box office draws in history, it’s easy to forget that Tom Cruise is already an acclaimed performer . This is someone who has worked with Oliver Stone , Steven Spielberg , Stanley Kubrick , Michael Mann , and Paul Thomas Anderson , so he’s picked up a few things about playing a nuanced character. What’s brilliant about the writing of Cage is that the script doesn’t go over the top in making him unlikeable; he’s simply the product of an unfair system that risks the lives of those who can’t afford to luxuriate in a comfortable corporate position like he can. He may be blissfully mean-spirited, but he’s not necessarily a war-mongering militarist like his superior, General Brigham ( Brendan Gleeson ).

It’s also easily forgotten how funny Cruise can be. We see an awkward, goofy side of him in Edge of Tomorrow that’s been absent in his performances (except for a little detour in Tropic Thunder ) since Jerry Maguire . This is exemplified when he’s awkwardly introduced to his new team of companions in the barracks and desperately tries to escape from duty. Seeing Cage demolished and killed in different ways as he tries to find any means to avoid actually doing anything productive allows the film to have a morbid, dark sense of humor. While it’s quite similar to a sequence in Groundhog Day when Phil continues to attempt suicide, it’s even funnier here as a self-aware reference to Cruise’s history of performing dangerous stunts . Cruise even helps shed light on the supporting cast as Cage begins to mess with his fellow soldiers by predicting their activities each time he’s reincarnated.

However, Cage’s cowardly nature also gives the film a direction, and it makes him a more inspirational character. There’s a bit of The Twilight Zone magic within the story about an ordinary man called on to do extraordinary things, and Cruise gets to show how Cage slowly learns about his own abilities as he trains with Rita. Having an inexperienced character allows the film to provide exposition in a naturalistic way, as Cage is hilariously unprepared for all elements of combat . These scenes would all be infinitely less interesting if Cruise was playing an action hero like Ethan Hunt , who already knows how the gadgets work.

Tom Cruise and Emily Blunt Are a Dynamic Duo in 'Edge of Tomorrow'

There’s a good deal of the Alien legacy in Edge of Tomorrow, and Blunt certainly gives a performance worthy of Sigourney Weaver ’s Ellen Ripley . In a reversal of roles, Rita is the hard-edged, cynical veteran tasked with helping Cage. The film sets off a fun dichotomy where Rita obviously wants to figure out the aliens’ plan herself, but must train a goofball like Cage because he’s been infected and can retain his memories. There’s a plot-centric reason for them to stay together, and the chemistry between Cruise and Blunt steadily convinces the viewers that they’re learning to appreciate each other.

Having Cage initially be a cowardly deserter gives him a sensitivity that makes this relationship more interesting. Cage isn’t just learning about how to fight in a mech-suit and pick up clues about alien biology, but also how to improve himself and reflect on his life choices. He’s forced to open up to Rita and finds a newfound respect for the soldiers he wouldn’t have thought twice about before. There are some quiet moments of intimacy in which we see how much Cage has grown , particularly when Rita reveals how she was once caught in a traumatic moment, reliving the death of her lover.

The 10 Best Tom Cruise Action Movies, Ranked

Edge of Tomorrow was an anomaly for many reasons. Although it was loosely based on the graphic novel All You Need Is Kill , it felt like a completely original work of science fiction that didn’t intend to start a franchise or launch a universe. Those looking for a generic sci-fi action movie may have been surprised to find a surprisingly earnest, hilarious, and emotional story about the planet’s most unexpected hero. Through Cage's unexpected journey in Edge of Tomorrow , Tom Cruise manages to convince us that he’s still a hero — he just has to learn how to be.

Edge of Tomorrow is available to rent on Prime Video in the U.S.

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Tom Cruise's Top 10 Best Movies, Ranked

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8. Minority Report (2002) Rating: 89%

In a future where a special police unit is able to arrest murderers before they commit their crimes, an officer from that unit is himself accused of a future murder.

7. Edge of Tomorrow (2014) Score: 91%

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

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Tom Cruise Flashes His Abs While Scaling the Hollywood Sign in Los Angeles

Tom Cruise was seen hanging from the beams of Los Angeles' famous Hollywood sign while accompanied by a film crew on Saturday

NATO / BACKGRID

Tom Cruise appears to have found a new iconic location to pull off his famous stuntwork.

On Saturday, Cruise, 61, was seen with a film crew at the Hollywood Sign in Los Angeles' Hollywood Hills as the Top Gun: Maverick star scaled the famed landmark.

The actor wore an all-black t-shirt, pants and shoes for the shoot and at one point flashed his abs from underneath his shirt. Largely thanks to his long-running Mission: Impossible series, Cruise has become synonymous with the dangerous stunts seen in the action-packed films.

A representative for Cruise did not immediately respond to PEOPLE's request for comment Monday. It's unclear what Cruise was filming on Saturday.

Cruise last appeared onscreen in Mission: Impossible—Dead Reckoning , which brought back his character Ethan Hunt for a seventh entry in the long-running Mission: Impossible series. The movie made $172 million at the domestic box office and also received two nominations at the recent 96th Academy Awards for Best Visual Effects and Best Sound.

A title for the eighth film in the series has not yet been announced.

Never miss a story — sign up for PEOPLE's free daily newsletter to stay up-to-date on the best of what PEOPLE has to offer, from celebrity news to compelling human interest stories. 

Cruise also has several other projects in development. In February, PEOPLE confirmed that he will star in the next movie from filmmaker Alejandro G. Iñárritu ( The Revenant, Birdman ), and The Hollywood Reporter reported in January that Top Gun 3 is in development at Paramount, with Maverick filmmaker Joseph Kosinski in talks to direct a follow-up to 2022's highest-grossing movie.

The actor has also been planning to film a movie in outer space for a number of years now as part of a project first announced by NASA back  in 2020. Doug Liman, the filmmaker with whom Cruise made 2014's  Edge of Tomorrow  and 2017's  American Made , is directing that movie . Universal Pictures executive Donna Langley shared in a 2022 BBC news interview that Cruise plans to become the " first civilian to do a space walk outside of the [International] Space Station " as part of the untitled film.

“We’ve been working on it diligently,” Cruise told Variety in July 2023, when asked for an update on the project. “We’ll see where we go.”

Yöllä tv:ssä: Hupsista! Päätähdistä toinen melkein tappoi kollegansa – silti tuli todella viihdyttävä scifi-leffa!

IMDb-arvosana 7,9.

Yöllä nähdään televisiosta elokuva Edge of Tomorrow (2014).

Lähitulevaisuuteen sijoittuvassa tieteiselokuvassa avaruusoliot ovat hyökänneet, ja taistelu näyttää hävityltä. Vastahakoinen armeijan upseeri William Cage ( Tom Cruise ) lähetetään suorittamaan hengenvaarallista tehtävää, mutta joutuu aikasilmukkaan ja kokee saman päivän taistelukentällä yhä uudelleen.

Edge of Tomorrow

Kuvauksissa koettiin vaarallisia tilanteita. Emily Bluntin piti kaartaa jyrkästi autolla, jotta se alkaisi heilua. Hän kuitenkin ajoi sen päin puuta. Bluntin mukaan tilanne oli yhtä aikaa järkyttävä ja nauruhermoja kutkuttava. Cruise oli lähellä menettää rytäkässä henkensä.

Edge of Tomorrow perustuu japanilaisen Hiroshi Sakurazakan kuvitettuun pienoisromaaniin. Hän sai idean kirjaansa tietokonepeleistä, joissa voi yrittää menestymistä aina uudelleen ja uudelleen.

Elokuvalle on toivottu jatkoa, ja sitä on yritetty tehdä jo pitkään kulisseissa. Jossain vaiheessa puhuttiin myös spin-off-sarjasta, joka tulisi HBO Maxille.

Emily Blunt kommentoi asiaa aikoinaan Happy Sad Confused  -podcastissa, jossa hän antoi ymmärtää syynä jatko-osan viivästymiselle olleen Cruisen kiireet. Blunt ihmetteli, montako Mission Impossible -elokuvaa Cruise tarvitsee.

Käsikirjoituskin jatko-osalle olisi jo valmiina, ja se saattaa lopultakin toteutua. Blunt oli vuonna 2024 uudelleen vieraana podcastissa, ja kommentoi asiaa toiveita herättävästi.

– Me kaikki rakastimme sen tekemistä todella paljon.

– Doug Limanin kanssa työskentely oli hyvin liikunnallinen ja jännittävä kokemus. Hän on parhaalla mahdollisella tavalla sekaisin ja todella loistava elokuvantekijä, Blunt hehkutti.

– Luulen, että jos aiomme tehdä sellaisen, meidän täytyy keksiä uudelleen, miltä jatko-osa näyttäisi, Blunt jatkoi.

Josh Horowitz huomautti podcastissa Cruisen uudesta sopimuksesta Warner Brosin kanssa, sillä heidän alaisuudessaan tehtiin ensimmäinen Edge of Tomorrow -elokuva. Tämän on katsottu olevan merkki siitä, että Edge of Tomorrow 2 saattaa lopultakin toteutua.

Elokuva on myös Viaplayssa. Alla traileri.

Tulevat lähetykset:

• La 23.03.2024 klo 23.30, TV5
• To 28.03.2024 klo 21.00, Kutonen

Lue myös: Suosikkiscifiin ehkä palaava Emily Blunt täytti 41 – tältä hän näyttää nyt – Episodi.fi

Lue myös:   Suosikkiscifiin ehkä palaava Emily Blunt täytti 41 – tältä hän näyttää nyt

Lue myös:   Nyt se älytön Oscar-rohmu on katsottavana – yksi viime vuoden parhaita leffoja

Katso myös:   Edge of Tomorrow

Katso myös:   Oppenheimer