In the midst of a summer filled with the excess action, brainless plots, and soulless direction of big-budget Hollywood entertainment, a movie such as Edge of Tomorrow is always a refreshing wrench in the corporate system. Sure, Edge could have been another Transformers, Man of Steel, Battleship, but director Doug Liman and screenwriters Jez Butterworth and Christopher Mcquarrie saw far more potential with their project. Edge of Tomorrow is not a perfect movie by any stretch of the imagination, but compared to the inevitable duds of the summer of 2014, it just might be one of the best actioners of the summer.

In the cross between Groundhog Day and Battleship Troopers, Soldier Cage (Tom Cruise) must relive the day of a massive offensive assault by Earth’s military against an invading alien army. In doing so, he must also team up with Rita, the “Angel of Verdun” (Emily Blunt) as she has experienced the same temporal loop. Paul Liman directs the film with unique simplicity, focusing tight on the story without over-stylizing his action or actors. Although Edge is the first big-budget action of his career, Liman handles the atmosphere and pace with surprising expertise.

All the proper aspects of a summer blockbuster are here. Cruise and Blunt share warm-enough chemistry, Edge’s plot is complex enough without confusing the viewer, the action scenes are beautifully filmed, the characters are all equally competent and likeable, and the aliens are at once both menacing and interesting to watch. Even the humor goes above and beyond the usual call of duty for a film which would usually be dark and brooding. The movie is, in fact, funnier than most comedies I’ve seen over the last month. These elements blend wonderfully to make a movie worth both your time and money… however, despite the positives, Edge is lacking in two key principles that would elevate it into something more than simply “good:” the film lacks emotional depth and a larger theme.

Edge is entertaining. No question about it. However, by my standards, elevation from “entertaining” to “memorable” to “practically flawless” requires a certain type of moral or intellectual substance to sink my teeth into. No larger ideas are presented in the picture (besides a tried but fleeting glimpse of self-sacrifice) that would make the audience really talk about the film once the projector finished reeling. No questions asked, no ideas explored, no strain to cling to when the theater leaves your sight.

In addition to lacking theme, Edge of Tomorrow skimps out on emotional investment. This is only a minor detraction for most of the film, but in a climax of high stakes and multiple lives, the viewer should be sweating for Cage’s sake. I was not sweating–I cared for his life (which is an achievement in itself) but I cannot say, after all I had been through with Cage, that I was fully invested on his ultimate outcome. These points do not take away from the entertainment value of Edge of Tomorrow but, had they been present, they would have added a needed ”umph” to propel the film into the upper tier of cinema.

Edge of Tomorrow is a movie that should have been seen in theaters to recoup its budget. If you did not see the film in theaters, I greatly encourage you to support the screenwriters’ and director’s careers by purchasing it on DVD. The film is a rare instance–an enjoyable distraction. 7/10.