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It’s rare that the art of movies and the business of their distribution coincide as closely as they do with “Edge of Tomorrow,” the director Doug Liman’s new science-fiction vehicle for Tom Cruise. It opens this Friday, June 6th, the seventieth anniversary of D Day—and that massive and decisive Normandy landing, tweaked to fit the movie’s futuristic premise, is also its main dramatic event. The metaphorical overlay of fantasy and history is the best thing “Edge of Tomorrow” has to offer—and, for much of its running time, that overlay is enough to lend the movie a shiver of curious power. “Edge of Tomorrow,” as everyone already knows, is a sci-fi war film with a “Groundhog Day”-like premise: Cruise plays a soldier who, after being killed in combat, awakens the day before the battle and must relive, over and over, the moment of his death. Yet the movie hidden behind “Edge of Tomorrow” isn’t “Groundhog Day” but, rather, “Saving Private Ryan.” The terrifyingly gory opening sequence of Steven Spielberg’s film—the landing at Omaha Beach—poses a fundamental question about war: If the D Day combat had been reported in real time and in detail, if the uncensored newsreel footage that it generated played like Spielberg’s realistic scene—with its dismembered limbs, dangling viscera, incinerated bodies, cries of agony, scattered corpses, and waves of blood—would the American public have tolerated the pursuit of the war until the enemies’ surrender? And would sufficient numbers of American men have fought in it willingly? That question is the premise of “Edge of Tomorrow”: the world is battling alien creatures who have killed hundreds of millions of people in Europe, and the allied army, known as the United Defense Force (U.D.F.),