“It’s no secret that my process is a little bit loose and can be a little bit infuriating…”
How to even begin to deconstruct that statement… A little bit infuriating… A little bit, but, he makes beaucoup bucks, so…
Based on Hiroshi Sakurazaka’s novel All You Need Is Kill, the film is a little more prestigious than your routine blockbuster. The intricate, knowing script is credited to Christopher McQuarrie of The Usual Suspects and to esteemed British playwright Jez Butterworth and his brother John-Henry Butterworth. Add cinematographer Dion Beebe, a collaborator of Michael Mann and Jane Campion, and leading effects whiz Nick Davis, and there’s some distinctive clout here.
While hardly a game-changer, Edge of Tomorrow reworks its old tropes with wit and brio. Given the weary complacency with which most commercial cinema settles for its own second-handedness, it’s a pleasure to see a film so utterly brazen about its own derivative nature. It almost makes you want to see if they can pull off a sequel – Edge of Tomorrow 2: Seen It All Before.