Washington returns in Déjà Vu

Déjà Vu brings a story of fantastical possibilities, tense action, and emotional depth into a surprisingly tight film that entertains, despite potential holes.

Tony Scott (director of Top Gun, Enemy of the State and Man on Fire) tones down the often overly flashy visual style he has recently become known for and instead lets the story develop first, leading to a more satisfying intensity and a good connection with the audience. Perhaps learning from his previous endeavors, Scott brings to the screen his most artistically matured work to date.

Scott teams up, once again, with Denzel Washington (Crimson Tide, Man on Fire) as Déjà Vu's protagonist, Alcohol, Tobacco, Firearms and Explosives agent Doug Carlin. In a lackluster performance, Washington fails to bring anything new to the screen. Though enjoyable in close ups, Denzel plays Denzel: a good cop just trying to do his job. We get a sneaking suspicion we have seen this all before.

The story takes place in post-Katrina New Orleans, a fact almost pushed on us throughout. Following a terrorist bombing of a sailor packed ferry, Carlin is brought in to investigate. Evidence is collected and a police drama reminiscent of a visuals enhanced CSI case begins to build. Things begin to get interesting when the FBI (represented by a sadly uninteresting Val Kilmer) approaches Carlin with a "unique opportunity" to use a newly developed technology to get a second look at what may or may not have happened.

Dipping into the realm of science fiction for a bit, Denzel keeps the underlying themes of the film grounded. Resisting taking the overdone paranoid spin, the story smartly develops a single narrative of Doug Carlin and the bombing. The deeper he gets involved in the case, the more he is intrigued by one of the victims, a woman named Claire Kuchever (played by relative newcomer Paula Patton) who's washed ashore body may hold the key to the identity of the bomber.

A high concept race against time unfolds with twists and surprising density. We are drawn to the edge of our seats for the entire second half of the narrative.

In familiar territory for a Bruckheimer production, the action is both engaging and lavish. With his patented cool, Washington must race to solve the case, while revisiting through several clever plot sequences which attempt to impress rather than to leave with too much head scratching.

Déjà Vu is engaging and visually elaborate. With an emotional undertone and a patient development, Tony Scott has created an interesting film that takes it's pretense and runs with it.

Though not entirely original, the scientific explanation and interwoven script doesn't insult the audience and makes a commendable attempt.

Not to be deceived by it's tagline, Déjà Vu is worth a look that fans of Scott's previous work will enjoy.