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    Inert Alien Invasion

    Even a cocky Tom Cruise can't push Edge of Tomorrow out of neutral

    Alex Bentley
    Jun 6, 2014 | 10:35 am
    Even a cocky Tom Cruise can't push Edge of Tomorrow out of neutral
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    When we first encounter Tom Cruise in Edge of Tomorrow, he, as Major William Cage, is at his smarmy best, shilling to TV news shows on behalf of a global military alliance created to combat an alien invasion. No one quite does cocky the way that Cruise does, which is one reason he’s still able to pull off being an action hero at age 52.

    A whole movie of that is a bit much, though, so Cage is fortunately unwittingly thrown to the front lines of the war, something he, as a PR expert, is utterly incapable of handling. Sure enough, he gets killed minutes into a planned invasion, but not before one alien he manages to kill sprays him with its blood.

    That blood turns out to magical, as it gives him the ability to live the same day over and over again, something he eventually learns to utilize to his advantage.

    ​ The issue is that the film, by virtue of its constant repetition, makes it difficult to build up any kind of emotional investment in the outcome.

    He joins forces with war hero Rita Vrtaski (Emily Blunt), who experienced the same thing previously before losing the ability, and the two of them do their damnedest to manipulate both time and the war.

    The obvious comparison for this film is Groundhog Day, and just as in that movie, it’s the trial and error period in which Cage tries to figure things out that’s the most entertaining.

    However, instead of simply living out the day and waking up again, Cage must be killed to restart. The inventive ways in which they off him, especially those involving Vrtaski, make the first third of the film as much a comedy as an action movie.

    It’s when the film settles down into the business of solving the central problem, i.e. killing the alien invaders, that it loses a bit of steam. This is through no fault of the interplay between Cruise and Blunt, who make a surprisingly solid team.

    The issue is that the film, by virtue of its constant repetition, makes it difficult to build up any kind of emotional investment in the outcome. The story implies that Cage regenerates thousands, if not millions, of times, making it a case of when, not if, he will succeed.

    In other words, the only obstacle is time itself, not the actual aliens that they’re fighting. For all the impact they make on the film, the aliens might as well be invisible. While the film still has its fair share of great action sequences, it’s really only the film’s climax in which the aliens play any significant part at all.

    The film deserves credit for mostly staying away from romantically pairing Cruise and Blunt, which was a nice break from conventional action movie plots. Brendan Gleeson and Bill Paxton do good work in supporting roles, but hardly anyone else makes an impression.

    Edge of Tomorrow proves that Cruise still hasn’t lost his touch when it comes to action movies, but the inert opponent he’s up against keep the film from being an all-out winner.

    Tom Cruise dons some heavy duty military equipment in Edge of Tomorrow.

    Tom Cruise in Edge of Tomorrow
    Photo by David James
    Tom Cruise dons some heavy duty military equipment in Edge of Tomorrow.
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    Movie review

    Nick Jonas steals song from Paul Rudd in music-heavy Power Ballad

    Alex Bentley
    Jun 5, 2026 | 1:30 pm
    Nick Jonas and Paul Rudd in Power Ballad
    Photo by David Cleary for Lionsgate
    Nick Jonas and Paul Rudd in Power Ballad.

    Writer/director John Carney is one of the great purveyors of movies featuring music (as opposed to musicals) in the 21st century. Starting with Once in 2007 (which was turned into a Broadway musical several years later), he has made music-themed stories like Begin Again, Sing Street, Flora and Son, and now Power Ballad.

    Rick Power (Paul Rudd) is a former wannabe rock star who is now the lead singer of “Ireland’s #1 Wedding Band,” The Bride & Grooves. While they mostly play smaller weddings, a gig at a country estate leads to an encounter with Danny Wilson (Nick Jonas), a former boy band member struggling to make it as a solo artist. Rick and Danny wind up bonding in a booze- and pot-filled jam session, sharing various song ideas.

    After returning to Los Angeles and desperate for a hit, Danny steals one of Rick’s songs, which miraculously turns into the No. 1 “How to Write a Song (Without You).” Rick, initially overjoyed that something he wrote has become big, is crushed when he finds out Danny didn’t give him credit. His quest to find a way to prove his worth sends him into a spiral, upending the ordinary life he had built.

    Co-written by Peter McDonald, the film is a nice exploration of two men trying to hold on to their music dreams. Their individual circumstances could not be more different, but each of them knows the ups and downs of the business as well as the other, as well as the ineffable magic of creating that one great song. While the music scenes are hit-and-miss because of a reliance on lip synching, the scene featuring Rick and Danny trading ideas is electric with creativity.

    Oddly, though, the film could have used a bit less music and more of a focus on the two men’s personal lives. Rick wound up living in Ireland after falling in love with his future wife, Rachel (Marcella Plunkett), while on tour with his former American band. He spends a decent amount of time with her and his daughter, Aja (Beth Fallon), but his story needed a few more family scenes to drive the point home. Danny’s personal life is all but nonexistent, giving his arc less impact than it could have had.

    Instead of loved ones, Carney and McDonald try to give Rick and Danny more depth through friends and business associates. Rick’s bandmate Sandy (McDonald) is a ride-or-die kind of guy for him, but his presence is only good for a few humorous distractions. Danny’s manager Mac (Jack Reynor) is difficult to parse, as he goes to bat for Danny on multiple occasions, but also seems to keep him at arm’s length.

    It’s long been joked that Rudd never ages, and that youthfulness serves him well in this role, in which his character is supposed to be much younger than his actual age of 57. His energy and enthusiasm make his character appealing throughout, even when Rick starts to go off the deep end. Jonas is decent in his role, selling the music side well, but there might be a reason his character doesn’t have many scenes requiring him to show emotions.

    While Power Ballad has all the hallmarks of another great Carney music movie, it’s missing a few pieces that could have put it over the top. It’s still a fun film with an insanely catchy song at its center, but it’s not quite as memorable as most of the filmmaker’s previous efforts.

    ---

    Power Ballad is now playing in theaters.

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