Un jour sans lendemain
Edge of Tomorrow
Edge of Tomorrow
Edge of Tomorrow
Réalisation:
Doug LimanPhotographie:
Dion BeebeActeurs·trices:
Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor, Kick Gurry, Dragomir Mrsic, Charlotte Riley, Jonas Armstrong, Franz Drameh (plus)Résumés(1)
Dans un futur proche, des hordes d'extraterrestres extrêmement organisés, appelés les Mimics, ont livré une bataille acharnée contre la Terre, réduisant les grandes villes en cendres et causant la mort de millions d'êtres humains. Aucune armée au monde n'est à même de rivaliser avec la rapidité, la violence et les capacités cognitives exceptionnelles des combattants Mimics, très bien armés, ou de leurs chefs dotés de pouvoirs télépathiques. Mais à présent, les armées du monde ont réuni leurs forces pour une ultime offensive à quitte ou double contre les extraterrestres... (Warner Bros. FR)
(plus)Vidéo (16)
Critiques (14)
Après deux premiers excellents moments de cinéma au marathon du film de Turnov, c’est la chute libre avec tout à coup quelque chose de barbant, stupide et chaotique. Tom Cruise fait partie de mon top 5 depuis des années, mais c’est dû principalement à Vanilla Sky, Eyes Wide Shut ou encore Né un 4 juillet. Je réalise qu’il me faudra peut-être faire l’impasse sur ses rôles dans les films de science-fiction, parce qu’après La Guerre des mondes, il me déçoit à nouveau dans Edge of Tomorrow sur tous les plans. Mais qu’est-ce qu’ils ont bien voulu faire ? Un essai de film fantastique pseudophilosophique utilisant un effet de boucle temporelle ? Quand il a remonté dans le temps pour la troisième fois, je ne demandais plus qu’à voir la fin vis-à-vis de laquelle j’avais réussi à contenir mon impatience. Pour moi, c’est la pire des mauvaises surprises de l’année. Pourtant, j'ai lu tellement de critiques élogieuses sur ce film… Merci, mais non, désolé. Tom, s’il te plaît, sors-toi de ce mauvais pas et focalise-toi sur Mission: Impossible 5 !
()
Il serait préférable de ne pas louer et de ne pas susciter de grandes attentes... Après tout, la devise clé d'Edge of Tomorrow n'est ni le grandiose ni l'action, comme on pourrait s'y attendre. Edge of Tomorrow est excellent grâce à son scénario, le plus original dans le domaine des blockbusters depuis très, très longtemps. Et grâce à son réalisateur (respect !). En termes de divertissement, de dynamisme et d'interaction avec le public, le film est pratiquement irréprochable et excelle dans tous les domaines. De l'équilibre entre sérieux et humour dans la perception du monde post-apocalyptique (visuellement attrayant), à la capacité de maintenir l'attention du spectateur avec une intrigue imprévisible qui vous cloue au siège, en passant par une action spectaculaire et intense mise en avant, et enfin les personnages attachants et leur humanité, ce qui serait relégué au second plan dans un autre blockbuster. Cruise est simplement excellent, on ne peut pas ne pas aimer le personnage d'Emily Blunt et la chimie entre eux fonctionne sans aucun signe de mièvrerie romantique. Dans le domaine des films d'action post-apocalyptiques de science-fiction ludiques, on retrouve la même expérience que celle qui était offerte sur le terrain des drames post-apocalyptiques plus réfléchis tels que Les descendants.
()
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%
()
(moins)
(plus)
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.
()
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.
()
Annonces