Déjà Vu

2006 "If you thought it was just a trick of the mind, prepare yourself for the truth."
7.1| 2h6m| PG-13| en| More Info
Released: 22 November 2006 Released
Producted By: Jerry Bruckheimer Films
Country: United States of America
Budget: 0
Revenue: 0
Official Website:
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Called in to recover evidence in the aftermath of a horrific explosion on a New Orleans ferry, Federal agent Doug Carlin gets pulled away from the scene and taken to a top-secret government lab that uses a time-shifting surveillance device to help prevent crime.

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Director

Tony Scott

Production Companies

Jerry Bruckheimer Films

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Déjà Vu Audience Reviews

Platicsco Good story, Not enough for a whole film
StyleSk8r At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.
Dirtylogy It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.
Myron Clemons A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.
cinemajesty Movie Review: "Deja Vu" (2006)A massively-visualized opening sequence terror attack on a river ferry shot near New Orleans after Hurricane Katherina in August/September 2005 by cinematographer Paul Cameron in an intriguing image system orchestrated by paint-brush-striking director Tony Scott (1944-2012) alongside with close friend leading actor Denzel Washington, portraying solidly as special agent Doug Carlin of the U.S. bureau of alcohol, tobacco, firearms and explosives (ATF) investigating the ferry disaster under an "act-of-terror" initiative, when Bill Marsilii's original script, polished by "Pirates of the Caribbean" screenwriter Terry Rossio and picked up as shooting draft by producer Jerry Bruckheimer becomes utterly unspeakable with a secret-operative science team, including Val Kilmer in hiding places behind desks and metallic-framed glasses, is able to fold time in order to prevent the high-flaming action-standards-granted fire-fight on the revisiting exterior location of the ferry, occupied by U.S. immigrated nemesis-character of Carroll Oerstadt under two-compact-machine guns aiming, bomb igniting actor Jim Caviezel, when full-frontal close, up and personal character conflicts get sacrificed for science-fiction mischief of Agent Carlin finally getting send through a wormhole back-in-time to the ferry to safe the woman of his recurring dream named Claire, here with utmost dedication playing actress Paula Patton, sharing intimate as emotional beats of a sensual woman, whose scenes with Denzel Washington mark the highlight of an undercut "Deja Vu". © 2018 Felix Alexander Dausend (Cinemajesty Entertainments LLC)
shoobe01-1 There are plenty of SF movies as implausible as this that I can get around and love, that's not the problem. Nor is the cast, the acting, most of the script, the set decoration and art direction, the very good use of locations, much of the photography, even the sound design and VFX.What sucks is the direction. The editing that chops half the scenes into mayhem. The added mayhem in general. Too many car crashes when a near miss would do. Cars flying through the air when a simply collision would do. Oh my god the rescue scene, with helicopters so low they are about to run into boats, and boats speed through the water apparently to chop up survivors. Don't even get me started on the explosion. So filmy fire laden, unlike anything real and not at all like the very, very, very specific description and diagrams of the explosion shown on screen! Music is also overbearing all the time, ruining most scenes with any emotional content by yelling at the audience THIS IS TOUCHING! THIS SCENE IS ALL FORESHADOWING! Really disappointing, as the story is quite interesting and maybe was even filmed enough someone could edit it into a good movie. But this is a total hack job. Urgh.
stav_lefler Perhaps it's just Washington's presence, an actor who's always only somewhat serious about himself and about the characters he plays. Anyway, the movie as a whole doesn't seem to take itself too seriously, too. Therefore, in spite of several loopholes and inconsistencies, it provides good fun without getting too heavy or self- important. Points to Scott for that, and let's hope for more entertaining stuff by the Washington-Scott duo. What begins as a seemingly ordinary disaster film turns into a geek-pseudo-sci-fi high-action and even slightly romantic drama. When moving through time is introduced, it is done organically and, again, the movie doesn't make too much of a big deal about it, and - thank the gods - doesn't try to over-explain it. It remains, above all, a good show that's fun to watch.
NateWatchesCoolMovies The late Tony Scott and Denzel Washington collaborated on five films, the second last of which is underrated sci fi thriller Deja Vu. It contains Scott's trademark visual style, all skitchy sketchy frames, deliriously rapid editing and deep, gorgeously saturated colours that pisses a lot of people off in its garish, flippant aesthetic. I for one love his style, and here he is coming down off the high that was his masterpiece, Domino, exercising restraint that was no doubt mandated by the studio bigwigs. Nevertheless, the same unmistakably heightened forces of filmmaking that flow through the veins of this crackling thriller can be found in most of his work, just in smaller doses here. The film tackles a lot in its unassuming narrative, from terrorist bombing, an elliptical story that's put in an otherworldly trance by a plot point involving a high tech time travel capability, and a surprisingly heartfelt undercurrant that somewhat sneaks up on you. During a captivating opening credit sequence, we see a horrific explosion onboard a navy transport ferry in the New Orleans harbour, killing over five hundred people including women and children. ATF Agent Doug Carlin (Washington) is called in to investigate, and before long his cunning intuition catches the eye of FBI Agent Pryzwara (an unusually calm Val Kilmer) who is spearheading a very hush hush investigative technique that's being used to track the terrorist in the days leading up to the incident. What Kilmer doesn't tell him is the mind- bending metaphysical implications of it, but keener Denzel gets wise to their act, and throws himself headlong into a quest to stop the bomber, save the mysterious Claire (Paula Patton, just phenomenal) who was murdered and has ties to the event, and reverse time. Denzel is an implosive wrecking ball of determination, his ingenuity and reserve made me wonder why Carlins career aspirations stopped short of the ATF. I don't know why Patton isn't in more films (she recently starred alongside Denzel again in the super fun 2 Guns), she brings a battered resilience to her work, and is a radiant beauty to boot. Peppy gerbil Adam Goldberg is the obligatory one liner spewing techie who's got more going on than his exterior may read, and Bruce Greenwood is all stern bluster as the FBI honcho in charge. This film doesn't often come up in discussions of either Denzel's or Scott's greatest hits, but it's ripe for rediscovery and praise. Propulsive action, far fetched sci fi intrigue that's hard to digest and follow, yet simultaneously wicked fun, and like I said before an emotional core that takes you by surprise. There's a sentence that I internally intone to myself whenever I see a film, or aspects within a film that fire up my adrenal glands, tear ducts or simply rouse my soul. Be it a banger of an action sequence, a romance that hits all the right notes, a good old fashioned fantastical invention or visual flights of fantasy that stir wonder within me. That sentence is "This is why I watch movies". I get no greater pleasure in my cinematic escapades than being able to say that to myself as my heart pumps to the tune of whatever grand spectacle I'm witnessing before me on screen. I can tell you, the sentence was uttered while watching this one, and now that I think of it, pretty much every film in Scott's portfolio. Highly recommended.