Rather, Deja Vu most closely resembles Bruckheimer/Scott's Enemy Of The State in its tautly edited,slick fascination with the world as seen through surveillance cameras. Indeed, it may be pushed to top the $130m worldwide enjoyedby the last Scott-Washington pairing, ManOn Fire (2004), which was more straightforward and did not feature plottwists that left audiences wondering whether they had been watching a contemporarypolitical thriller, a highly-polished action film or a sci-fi fantasy.
Opening against the renewedJames Bond franchise, as represented by CasinoRoyale, Deja Vu maystruggle for its share of holiday-season action-movie business when it opens inthe US this weekend, where it is likely to have a strong first weekend before facingserious drop-off. But its greatest weakness is making the usually charismatic Denzel Washington seem a confused and passive presence in aplot he has trouble controlling. The latest thriller from producer Jerry Bruckheimerand director Tony Scott, Deja Vu bites off more than it can stylishlyblow up in trying to turn a terrorist attack into back-story fodder for atime-travel tale.
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