El día después de mañana

"The Day After Tomorrow" is a disaster movie, but it isn't a disastrous one. But if Roland Emmerich really thought he was making a movie with a message, he didn't quite succeed - to be honest, Emmerich is to serious film-making as Naomi Wolf is to recommending "Voluptuous" magazine. The fact that the movie begins with the Twentieth Century Fox logo under stormy skies doesn't make it any more significant.

Well-intentioned it may be, but the movie's plot takes second place to the imagery - the opening credits over an icy landscape, the massive weather systems over the planet, colossal hailstones pelting down on Tokyo, snowstorms over India, tidal waves - and the numerous effects houses make it an eye candy feast, especially for people with a grudge against the Big Apple (kudos to Industrial Light and Magic, Digital Domain and all the less renowned FX companies involved). So on that level, it works; the music by Harald Kloser and Thomas Wanker is also a bonus, being more restrained and serious in its support than is usually the way with Emmerich movies.

And then there's the script - it has a whole load of characters but doesn't do much with any of them. Example: Climatologist Dennis Quaid's relationship with son Jake Gyllenhaal doesn't seem to be as estranged as it's intended to be, and similarly the friendship Quaid has with a longtime colleague gets about as much emphasis as the crush his younger colleague has on fellow scientist Tamlyn Tomita (and the movie pays for it later on in a sequence shamelessly ripped off from "Vertical Limit," which has little of the emotional resonance it should). In fact, all the human elements - Gyllenhaal's repressed feelings for classmate Emmy Rossum, his doctor mother Sela Ward's problems with a young patient, etc - all of them are underdeveloped or just plain undeveloped, and some moments practically scream "Contrived Climax Ahoy!"

Those moments are there because "The Day After Tomorrow" doesn't have an enemy as a natural outgrowth of its story; the elements aren't really villainous as they have no concept of right or wrong, and the closest thing to a villain here is the current administration in the White House, so Emmerich and co-writer Jeffrey Nachmanoff have to impose a tangible enemy (why else are those wolves there?) on the proceedings. This does help things from getting totally boring in the second half, though it's still pretty watchable even then - but if some more thought had been put into the screenplay, like exploring the characters or developing the promising ideas therein (like Americans fleeing to Mexico, or further looks at the Government side), it would have carried more weight and made the movie into more than an improvement on "Godzilla."

As it is, it's a competently done if implausible attention-holder that wants to be more; that it actually had the potential to be more makes it a bit of a disappointment, but at least it's a watchable one.

Honestly I love this movie. No matter what I'm doing if I see this on tv I go ahead and grab a drink and put my feet up. Don't watch this expecting realism. Just watch it for what it is - a disaster movie that suspends reality and science to reunite a father and his son during the storm of the ages.

Yes yes, plot holes blah blah, this movie is so fun to watch if you don't pretend you're a know-it-all scientist. If you are a a scientist, it's probably not for you.

The Day After Tomorrow is not a bad movie by all means. In fact, it's an uneven but decent film. The film does start off absolutely brilliantly, with a wonderful idea for a story and truly spectacular special effects. As a matter of fact, the whole film is well worth watching for the special effects alone. The acting is not too bad; Jake Gyllanhaal is rather bland, but Dennis Quaid is a superb lead. Plus Emmy Rosum looks positively radiant and Ian Holm is as reliable as ever. The direction from Roland Emmerich was surprisingly good, there have been times when I have found his direction too murky and unfocused, but no it was above decent here.

However, the second half isn't as impressive. Whereas the first half is very like a typical disaster movie, the second half for me as it focused on the rescue mission felt more of a thriller. The screenplay in general could have done with more precision and focus too, there is good interplay sometimes but on the whole I found the screenplay and some of the characters underdeveloped. My main problem though with The Day After Tomorrow was the pace, for my liking it was too leisurely and too stodgy.

All in all, uneven it is but it is a decent disaster movie. The first half I can watch again and again, but the second half for me was a bit of a letdown. 7/10 Bethany Cox

Roland Emmerich's The Day After Tomorrow is one of those textbook disaster flicks where every recognizable element is in full swing: determined scientist, sure of his curveball theories that no one else buys, saddled with a dysfunctional family and a clock that's quickly ticking down towards some looming cataclysm, in this case severely bat tempered weather. It's cliche after cliche, but this is one of the ones that works, and I have a theory why. These days it seems like the formula for the disaster film is pretty dead, or at least doesn't carry the same magic it did throughout the 90's and early 00's.

Stuff like San Andreas, 2012, Geostorm (shudder) just feel dead on arrival, and instead we go back and revisit things like Armageddon, Independence Day, and for me, ones like this. There's a quality, a feel for time and place that got lost somewhere along the way as time passed in Hollywood, and this is one of the last few that serve as a milestone as to where that happened. The first half or so is cracking stuff, followed by a slightly underwhelming final act. Dennis Quaid is the scientist who gets all in a huff about an extreme weather front that's apparently barrelling towards the east coast, threatening to give the whole region one wet day in the park. There's an exaggerated halfwit Vice President (Kenneth Welsh) who scoffs at him, an excitable veteran professor (Bilbo Baggins) who eagerly supports him, and an estranged family right in the storm's crosshairs who he must rescue. The special effects are neat when the maelstrom slams into New York like a battering ram, pushing over buildings with walls of water and chucking hurricanes all about the place. Quaid's wife (Sela Ward) and wayward son (Jake Gyllenhaal) are of course stuck in this mess, as he races to find out what's causing it, and how to escape. The initial scenes where it arrives are big screen magic, especially when Gyllenhaal's girlfriend (Emmy Rossum) is chased down main street by a raging typhoon and barely scapes into a building, a breathless showcase moment for the film. The second half where the storm levels off isn't as engaging, despite attempts to throw in extra excitement, such as wolves, which I still can't quite figure out the origin of, despite watching the film a few times now. Holed up inside a library, it's a long waiting game in the cold dark where the writing and character development is spread a bit thin for the time they have to kill, but what can you expect here. Should have thrown in a T Tex or some ice dragons to distract us from sparse scripting. Still, the film gets that initial buildup deliciously right, the nervous windup to all out chaos, the editing between different characters and where they are when the monsoon shows up, and enough panicky surviving to make us thankful for that cozy couch and home theatre system all the more. One of the last of the finest, in terms the genre.