El día de mañana

La primera mitad de El día de mañana agrada pero no sorprende. Ya lo hemos visto todo en el avance. Y la segunda mitad es aburrida y aburrida. Quizá no sea la película de ciencia ficción más tonta de Roland Emmerich, pero sí la menos entretenida. Mientras que Stargate y Día de la Independencia eran los juguetes sinceros de un hijo adulto declarado, El día de mañana es un drama de casa seria de un cineasta mediocre que intenta hacer grandes cosas. (26.05.2004)

Leaving aside the obvious fact that the processes of flow change and cooling that Emmerich describes in this film are long-term and span many decades (OK, exaggeration, I'll take it), the rest of the story is the essence of everything that is wrong with contemporary Hollywood: the tired clichés, the boring to tedious predictability of everything that happens on screen, the shoddy psychology of the cookie-cutter characters on the level of a literary attempts of a ten-year-old. The result is an unhealthy toying with the intelligence and tolerance of the normally thinking viewer. EMMERICH, GET OUT!!!! PS: To rate a film with a few stars just because it has great visual effects seems misguided to me. Nowadays, good special effects are par for the course, not an exception. (03.12.2005)

Turning off your brain and not looking for any meaning to it is the way to approach what Emmerich presents in his two-hour disaster vision of the coarsest grain. Although it might irritate climatologists, why get upset when he serves us a picture of thousands of Americans begging to enter Mexico? At that moment, it is necessary to have a hearty laugh and lightly acknowledge that there is no more American American than this defector German, who spends high budgets like the biggest snob and yet unabashedly winks at the audience, almost begging them to enjoy the ride with him. Serving up a few remarkable special effects sequences pleasantly elevates the dose of patriotism, which could knock down an elephant, and it's necessary to handle it with an eye roll and a loud chuckle. The perfect sabotage of Hollywood! (16.06.2004)

My beloved Roland "Americ" Emmerich is back, and I have to admit, I'm a little disappointed. Unfortunately, The Day After Tomorrow is not as beautifully stupid as Godzilla or Independence Day, nor does it have the true spirit of capitalist realism; it's just an average product from the disaster film factory. The brisk first half of the film is held together by great tricks and dynamic editing, but in the second half the director takes over control and proves once again that when he has to shoot with actors without the support of digital technology, there are some gaps in his work. The main faces are bland, the dialogues are half-assed (see the one about Nietzsche, which is supposed to indicate how much a more educated American viewer knows about the legend of world philosophy), this time pathos tries to avoid the national aspects – strangely quite successfully – but still has the gift of inadvertently entertaining (Who is it? – MY DAD :o))). Technically, it works well, it's nice to look at, but the impression is killed by the protracted and considerably dull second half of the film. All they had to do was add a little exaggeration and cut down the evident ecological moralizing... and The Day After Tomorrow might even have been a slightly above-average piece of eye candy. The way it is, it looks nice and amounts to average nothing with BIG effects. (02.06.2004)

“Well, that’s the ice age for you..." Dr. Emmet Brown might have said. The Day After Tomorrow is a success in terms of special effects and completely empty in terms of ideas. Lots of clichés and lameness. On the other hand, it has a pretty solid storytelling pace. If you’re looking forward to a popcorn movie where you have a few laughs at the expense of the creators and don’t fall asleep due to pure boredom, The Day After Tomorrow is just the movie for you. (28.05.2004)

On a second viewing, it's just a little bit better. Roland Emmerich toned it down with pathos, he doesn't always hit the mark, but he can win over the audience. The climate action boasts fantastic visual effects and thrilling action sequences. Unfortunately, there isn't as much of it as in his previous films, and especially the second half can bring a feeling of boredom, mainly due to a weak screenplay and a flood of clichés that unpleasantly stick to the very likeable heroes. (10.09.2004)

Emmerich knows his stuff. With compelling visuals, likeable characters, a few tornadoes and a tidal wave, he manages to deliver so much sincere cinematic fun that you can't be mad at how childish it is. As far as entertainment value goes, The Day After Tomorrow isn't bad, everything looks great, it oozes the requisite dose of fatality, and the two hours pass by in a flurry of tried-and-true genre clichés, with Emmerich-esque gems that fly by faster than you can say frost. Compared to that, the story is abysmal. Once again, the heart of it all is the standard epicentre of Hollywood – Manhattan, with the situation elsewhere in the world only vaguely referred to through a newscast –, dumb people running away from huge torrents of water or getting a freezing door slammed in the faces if they're not interesting. If you only want to have fun, you will be able to overlook these "small details", but I have to stick with 3*, if only because I gave four to the much more entertaining and wholesome 2012. 65% (30.11.2015)

A timeless film. 16 years after its release, the subject is more relevant than ever. (11.02.2020)

Roland Emmerich once again demonstrates how excellent he is at making relaxing movies. His "The Day After Tomorrow" is exactly that. You want to watch it when there's nothing else on TV, you want to talk about it even though your significant other devours every scene. Unfortunately, I paid too much attention to the inconsistencies and I could only marvel at the nonsense that Hollywood mainstream feeds us. It's sometimes truly laughable. But hey, this is supposed to be entertainment, and at times I actually laughed quite a bit. (09.01.2014)