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"Well as you know, Subway makes submarine sandwiches. So if you know anything about the movie 'Battleship,' there's lots of boats, but they don't have submarines so it was like 'this is perfect," Pace said. "It sounds quirky but it was a really natural thing for us to be in this business. We basically said the only thing missing in the movie is a great sub and that's how we're featured."
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Berg went on to say that Rihanna was always the first into work in the morning and she was a "consummate professional" and "really creatively adventurous." He even says he takes credit for putting Rihanna in the movie. When asked if he'd work with her again, Berg said "In a second."
Well Taylor Kitsch was always the first choice for Berg to play Lt. Alex Hopper. Berg says he likens Kitsch to a young Bruce Willis. "He's a good looking kid and you know he's going to save the day. But he's probably going to screw up two or three times before he saves the day. That's a quality I like and it helps us find a little humor in the movie."
"I was always a fan of the Navy. My dad was a Marine and a Navy historian and he used to lecture me on all the great navel battles," Berg said. "I wanted to make a Navy film. When they pitched me 'Battleship,' I thought maybe I could figure out a way of turning that board game into a real modern Navy movie."
"We did very well overseas and it's coming out this week in the most brutal way, with the biggest hit film in the history of movies right now. So hopefully we'll be able to find our own real estate and have a good summer," Berg said.
"Edge of Tomorrow" is less of a time travel movie than an experience movie; that statement might not make sense now, but it probably will after you've seen it. Based on Hiroshi Sikurazaka's novel "All You Need is Kill", it's a true science fiction film, highly conceptual, set during the aftermath of an alien invasion. Maybe "extra-dimensional being invasion" is more accurate. The fierce, octopod-looking beasties known as Mimics are controlled hive-mind style by a creature that seems able to peer through time, or rupture it, or something. When the tale begins, we don't have exact answers about the enemy's powers (that's for our intrepid heroes to find out), but we have a solid hunch that it can see possible futures through the eyes of specific humans, then treat them as, essentially, video game characters, following their progress through the nasty "adventure" of the war, and making note of their tactical maneuvers, the better to ensure our collective extermination.
Tom Cruise, who seems to be spending his fifties saving humanity, plays Major William Cage, an Army public relations officer. Cage is a surprising choice for the role of hero. He's never seen combat yet inexplicably finds himself thrown into the middle of a ferocious battle that will decide the outcome of the war. The film begins with Cage en route to European command headquarters in London, waking up in the belly of a transport chopper. The rest of the movie may not be his dream per se, but at various points it sure feels as though it is. The world is wracked by war. Millions have died. Whole cities have been reduced to ash heaps. The landscapes evoke color newsreel footage from World War II, and much of the combat seems lifted from that era as well.
When Cage meets the general in charge of that part of the world's forces, he's told he's being sent right into this movie's version of D-Day and is to report for duty immediately. No amount of protest by Cage can halt this assignment, and soon after he joins his unit and learns the rudiments of wearing combat armor (this is one of those science fiction films in which soldiers wear clumping bionic suits festooned with machine guns and other weapons) he dies on the battlefield. Then he wakes up and starts all over. Then he dies again and starts over again. He always knows he's been here before, that he met this person, said that thing, did that thing, made a wrong choice and died. Nobody else does, though. They're oblivious to the way in which Cage, like "Slaughterhouse Five" hero Billy Pilgrim, has come unstuck in time.
The rest of the cast has less to do because this is Tom Cruise's movie through-and-through, but they're all given moments of humor, terror or simple eccentricity. Taylor often gets cast as brilliant but haunted or ostracized geniuses, and he's effective in another of those roles here. Gleeson, as is so often the case, invests a rather stock character with such humanity that when the character's motivations and responses change, you get the sense that it's because the general is a good and smart man and not because he's just doing what the script needs him to do. Emily Blunt is unexpectedly convincing as a fearless and elegant super-soldier, and of course a magnificent camera subject as well. Director Doug Liman is so enamored with the introductory shot of her rising up off the floor of a combat training facility in a sort of downward facing dog yoga pose that he repeats it many times. The film's only egregious flaw is its attempt to superimpose a love story onto Cruse and Blunt's relationship, which seems more comfortable as a "Let's express our adoration for each other by killing the enemy" kind of thing.