The Day After Tomorrow (2004)

Director:

Roland Emmerich

Writers (WGA):

Roland Emmerich (story)
Roland Emmerich (screenplay) ...

Release Date:

28 May 2004 (USA)

Genre:

Action | Adventure | Sci-Fi | Thriller

Tagline:

This year, a sweater won't do.

Plot:

A climatologist tries to figure out a way to save the world from abrupt global warming. He must get to his young son in New York, which is being taken over by a new ice age.

Plot Keywords:

New York | Global Warming | Disaster | Climatologist | Weather

Awards:

Won BAFTA Film Award. Another 3 wins & 8 nominations

Cast

Dennis Quaid	...	Jack Hall
Jake Gyllenhaal	...	Sam Hall
Emmy Rossum	...	Laura Chapman
Dash Mihok	...	Jason Evans
Jay O. Sanders	...	Frank Harris
Sela Ward	...	Dr. Lucy Hall
Austin Nichols	...	J.D.
Arjay Smith	...	Brian Parks
Tamlyn Tomita	...	Janet Tokada
Sasha Roiz	...	Parker
Ian Holm	...	Terry Rapson
Nassim Sharara	...	Saudi Delegate
Carl Alacchi	...	Venezuelan Delegate
Kenneth Welsh	...	Vice President Becker
Michel 'Gish' Abou-Samah	...	Saudi Translator (as Michael A. Samah)

Also Known As:

Tomorrow (USA) (working title)

MPAA:

Rated PG-13 for intense situations of peril.

Runtime:

124 min

Country:

USA

Language:

English | French | Japanese | Italian

Colour:

Colour

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS | Dolby Digital | SDDS

Certification:

USA:PG-13 (certificate #40177) | Iceland:L | Brazil:Livre | Malaysia:U | France:U | Argentina:13 | Australia:M | Canada:PG | Chile:TE | Czech Republic:12 | Finland:K-11 | Germany:12 | Ireland:12 | Netherlands:12 | New Zealand:M | Norway:11 | Peru:PT | Philippines:G | Portugal:M/12 | Singapore:PG | South Korea:12 | Sweden:11 | Switzerland:10 (canton of Geneva) | Switzerland:10 (canton of Vaud) | Switzerland:12 (canton of Zurich) | UK:12A | Greece:K-13

Filming Locations:

Canada

Company:

Twentieth Century-Fox Film Corporation

Trivia:

The opening weekend gross of this film, along with the second weekend gross of Shrek 2 (2004), represented the most money ever earned in a single weekend in movie history at that point. This has since been passed and is now the 5th highest grossing weekend ever.

Goofs:

Factual errors: We are led to believe that the only global surveys of the weather available are through manual observations from the International Space Station. In reality there are several dedicated meteorological satellites in orbit around the Earth.

Quotes:

[first lines]
Frank Harris: See how it's done?
Jason Evans: Yeah, I think I got the hang of it.

Movie Connections:

Spoofed in "South Park: Die Hippie, Die (#9.2)" (2005)

Soundtrack:

Do You Really Want to Hurt Me

It's the end of the world as we know it, and I feel okay.

"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.