Director:
Doug LimanCámara:
Dion BeebeReparto:
Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh, Tony Way (más)Streaming (7)
Sinopsis(1)
El Teniente Coronel Bill Cage es un oficial que, sin haber participado nunca en combate, es repentinamente enviado a una misión poco menos que suicida. A Cage le matan en unos minutos, y después se encuentra inexplicablemente metido dentro de un bucle del tiempo, condenándole a revivir el mismo combate brutal una y otra vez. Pero con cada repetición, Cage llega a ser más habilidoso en la lucha contra los adversarios, junto con la combatiente de las Fuerzas Especiales Rita Vrataski. A medida que Cage y Rita combaten contra los alienígenas, cada batalla repetida se convierte en una nueva oportunidad para vencer al enemigo. (Warner Bros. España)
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Reseñas (17)
Después de dos excelentes experiencias cinematográficas en el maratón de cine de Turnov, caí en un profundo abismo de aburrimiento, tonterías y desolación. Tom Cruise ha estado en mi TOP 5 durante muchos años, pero principalmente gracias a Vanilla Sky, Eyes Wide Shut o Born on the Fourth of July. Me doy cuenta de que probablemente tengo que evitar su interpretación en el género de ciencia ficción, porque después de la terrible Guerra de los Mundos, también me decepcionó el aclamado Al filo del mañana. ¿Qué demonios era eso? ¿Un intento de la pseudofilosófica ciencia ficción utilizando el efecto de bucle temporal? Cuando volvió en el tiempo por tercera vez, anhelé ansiosamente el final, al que felizmente llegué. Para mí, fue la mayor sorpresa desagradable de este año. ¿Qué he leído en las reseñas de elogio? No, gracias. Tome, mejor apresúrese con Misión: Imposible 5.
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Sería mejor no elogiar y no despertar grandes expectativas... Después de todo, lo más valioso de Al filo del mañana ni siquiera es la grandeza o la acción, como cabría esperar. Al filo del mañana es un éxito gracias al guión, el más imaginativo en el campo de los éxitos de taquilla en mucho, mucho tiempo. Y gracias a su director (¡respeto!). La película prácticamente no tiene fallas en el entretenimiento, el dinamismo y el trabajo con el espectador y gana en todos los niveles. Desde el equilibrio de la seriedad y el humor en la percepción del mundo postapocalíptico (visualmente atractivo), pasando por mantener la atención del espectador con una trama impredecible que lo clava en el asiento, trama subordinada grandilocuente, acción de servida muy rápidamente, hasta lo que en otro éxito de taquilla sería secundario: lo simpático y civil que son los personajes. Cruise es simplemente genial, en el personaje de Emily Blunt se enamora todo el mundo y la química entre ellos funciona sin una pizca de una dulzura romántica exagerada. En el campo de películas de acción juguetona de ciencia ficción postapocalípticas, la misma experiencia que en el campo de los reflexivos dramas de ciencia ficción postapocalípticos eran Hijos de los hombres.
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This technological blockbuster, which in the long post-production process was given a coat by the special effects artists that models would die for, earns points mainly with the merciless thrill of the war. This war borrowed all over the place to wring out a surprisingly clever, pleasantly black-humored (headshots!) spectacle, which is only shattered by the skeleton's lack of a more driving conclusion to bring the film's entire video-game architecture to an absolute climax; otherwise, it's flawlessly acted, musically compelling, and directorially as confident as few in the genre in recent years. 4 ½.
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Very well executed concept known from Groundhog Day, Source Code and probably every sci-fi series ever made. At the beginning, the hero is introduced without any heroic attributes and the pandemonium of war that follows during the landing in Normandy sets the bar very high. And it holds there damn long. Edge of Tomorrow only stumbles a little by the end, where the thus far relatively reaistic battles (to the extent than a battle between people in exoskeletons and giant tentacled aliens can be described as “realistic”) abandon the realism and now they are falling from huge heights without any injuries and the entire final fight goes too smoothly, especially considering how important it is and how it goes straight down to business. That said, it’s an excellent action sci-fi blockbuster of the kind that has been missing in cinemas for a long time. The action is spectacular, Cruise and Blunt have good chemistry and the script also has a couple of nice moments.
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Some of the information in this review goes beyond what you might want to know before seeing the film. Edge of Tomorrow is clearly the most expensive example of silly gameplay to come along in a long time and possibly the most popular film among Cruise’s detractors, because in no other film does Tom die so many times. With its bold combining of the poetics of both films and video games, it underestimates the difference in the elementary principles on which the cinematic and gaming experiences are based. We go back to games because of the possibility to become (through our avatars) stronger, faster and more agile and to improve these abilities through repeated playing. Films take the element of interactivity out of our identification with the character and deprive us of the feeling that we are the ones who are becoming more capable (though in a certain respect, every viewing of a film is also an interactive activity during which we improve our cognitive ability). Therefore, films should strive to flesh out the characters and to support our emotional connection to them by gradually doling out information. In short, a well-thought-out story and believable characters should have priority over the more immediate “motion and emotion”. In this respect, Edge of Tomorrow falls critically short. The story is just as one-dimensional and dully straightforward as in any given action video game. The characters don’t put much effort into finding a solution that doesn’t involve a lot of shooting and corpses. Though we get into the protagonist’s head on a number of occasions and see the world through his eyes (the very game-like scanning of the space), the film does not give us enough clues as to why we should root for him. Besides the fact that he is a coward who doesn’t want to fight, we learn almost nothing else about him. His vague characterisation corresponds to the requirement of “open” video-game characters onto which players can easily project themselves. (Emily “Full Metal“ Blunt thus portrays the formulaic beautiful action heroine whom every second nerd can platonically fall in love with – though she is outwardly stubborn, tough and indomitable, the increasingly capable hero takes her under his wing as expected and she is thus transformed into just another fragile love interest). However, what works in a video game comes across as screenwriting laziness in a film. The most pronounced transformation that the protagonist undergoes consists in the improvement of his physical skills rather than in the reassessment of his opinions on war, fatalism and other issues that lend themselves to the story. But particularly because of the special abilities that he possesses, we don’t have any reason to fear for him through most of the film (the screenplay certainly does not sufficiently exploit the potential of the situation when Cage was only seriously wounded but didn’t die). We can thus only be amused by the various ways he dies and how he embarrasses the other characters with the scope of his knowledge. Not even the narratively important fact that in some scenes he sees farther into the future than the viewer does (and is thus explicitly used as the narrator of the story, or rather as a player who makes it through to the next level) was elaborated beyond simple gags and affected gestures. Liman was ironically least influenced by video games in directing the action scenes, which contain three times more cuts than would be necessary, so they are at least three times less clear than they could have been. Edge of Tomorrow is an entertaining summer lark that graphically demonstrates how counterproductive an excessive yet poorly though-out attempt to combine film and video-game elements can be. Simple imitation is not enough and, at least in my case, leads especially to thoughts about how much more fun it would have been to just play the game. 70%
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