"Brilliant visual effects, tight rhythm control, humorous dialogue, high/high plot settings...... All of them revolve around a clear and definite main story, advancing rapidly, and the adrenaline rush makes the movie-watching process a pleasure, just need to relax and plunge into this summer feast! ”

Michael Battenbach, a professional film critic for Variety magazine, gave a huge award of eighty-five points, not only the scores, but also the reviews, which show their appreciation for the film.

The most authoritative professional magazines in Hollywood are divided into two mountain ranges, "Variety" and "Hollywood Reporter", which not only have the most professional views, but also represent the views of industry insiders in the most concentrated manner. Every year, during the awards season, the opinions of the two magazines are often representative of the trend, and they have the strongest influence on the professionals in the circle.

Of course, in addition to the awards season, people in the summer season are also very happy to refer to the opinions of these two magazines. This time, "Variety" gave a positive recognition.

In an in-depth commentary, Variety magazine said, "Lancelot Strello showed his talent and talent for camera cohesion and rhythm control in 'City of God', and this time in 'The Day After Tomorrow', he showed his ability to control large-scale scenes and control of emotions."

As a commercial film, the space for the 'day after tomorrow' is relatively limited, and Strello resolutely gave up the humanistic care excavation that he is good at, and concentrated all his energy on rhythm control and global scheduling, showing the audience a grand plan of the end of the world, infiltrating the despair in fear and panic, and the perfect combination of visual effects and plot, which really sounded the alarm for the danger of the greenhouse effect.

Meanwhile. Strello's excavation and sketching of details can still feel his excellence, in the relatively weak plot line, the ridicule of the government/government, the concern for minorities, the hint of the world pattern, etc., are all revealed in the detailsreads();. Humorous and wise, this gives the apocalypse created by the movie even more depth. It is also more valuable for discussion.

Needless to say, 'The Day After Tomorrow' is a full-fledged and wonderful enjoyable summer work. ”

It can be seen that Michael's praise for "the day after tomorrow" is all-round, and finally it is reflected in the evaluation of 85 points, which is really rare for a popcorn commercial movie. However, just as the audience's comments on "the day after tomorrow" are polarized, "the day after tomorrow" has naturally not escaped the shackles of mixed reputation in the eyes of film critics. In contrast to "Variety", the "Hollywood Reporter" has been harshly critical of the film.

Mick-Lasalle, a professional film critic for The Hollywood Reporter, said in a review, "Don't even ask us if we should think of 'the day after tomorrow' as a work worth seriously discussing, because it's not worth it, don't take it seriously at all." ”

Such a simple and crude review almost pushed the "day after tomorrow" to hell, with only a score of 25 points, the lowest rating among the first reviews. Although the optimists will say that there are at least twenty-five points, such a score, even for a commercial movie. It's also enough to be eye-catching.

"The weak storyline is almost fragmented, and there is hardly any plot to speak of in the first half of the film - even if it is a disaster movie, it is unbearable - stormy storm. The VFX smashed everything to pieces like a tornado, and after an hour of computer effects bombarding the big screen, there was finally some plot to speak of, only to be beaten into mud by the ensuing storm.

One sentence sums up the 'day after tomorrow' movie: disaster is coming, disaster is gone. ”

Mick is an almost relentless critique of the film in all aspects, and even Lance is no exception.

"'City of God' allows us to witness the birth of a talented director, and 'The Day After Tomorrow' allows us to witness the fall of a talented director. This is Hollywood.

Lancelot Strello showed great control in his debut novel, and his mature and intelligent scheduling ability is eye-catching; But in the commercial film 'The Day After Tomorrow'. Strello is reduced to an inferior version of Michael Bay, a mixture of visual effects and bombardment. It's like a well-made music video, without any plot support. It is only a matter of scheduling to shoot the images with bells and whistles, seeking the purest and most rustic visual pleasure - and Strello is far less capable of maneuvering with explosions than Michael Bay.

From talented directors to shoddy amateur directors with shoddy stitching shots, Strello only took the time of one film, and there was an interval between Oscars. ”

Mick's criticism is undoubtedly all-encompassing, but he also said at the end of the review that the twenty-five points were given to the computer special effects production team, which is the only highlight of the whole movie.

The stark-for-tat stance of "Variety" and "The Hollywood Reporter" can be said to be a unique scene in Hollywood, which complements the polarization of the audience and becomes the most obvious feature after the premiere of "The Day After Tomorrow". In fact, this is precisely the condensed blueprint of the first comments of the "day after tomorrow"!

Thanks to the particularity of this year's summer file, with the cooperation of the eight major Hollywood film companies, almost everyone has focused their attention on the "day after tomorrow", which makes the film have won super high attention before its premiere, and the summer file in May has made a vigorous debut in the limelight.

After the premiere ceremony, the two mountains of "Variety" and "The Hollywood Reporter" wrote a film review for the first time, which is actually the most direct portrayal. Obviously, this is not the only two magazines that have carried out professional reviews, and the major pages of major newspapers have given positive reports, and more than 200 media have concentrated bombardment, so that "the day after tomorrow" finally surpassed the topic focus of this year's summer file "Troy" in one fell swoop, and briefly became the focus of the focus in the first week of Mayreads();.

In the midst of the media's hot attention, the first batch of professional film reviews of "The Day After Tomorrow" also ushered in a small high/tide of explosion, including "Variety" and "The Hollywood Reporter", as many as 16 media released film reviews at the first time, and they all paid attention to this summer file to welcome customers, and kicked off the summer file with the highest standard.

Just like the characteristics of popcorn commercial films, "The Day After Tomorrow" made a shining appearance in the criticism of film critics, which simply ushered in a feast of criticism.

The Los Angeles Times gave a poor score of 40 points, "The story is so stupid, childish and childish that it almost makes the whole viewing process unstable, just like an eight-year-old child with ADHD, who can't resist the urge to go to the bathroom frequently." ”

The San Francisco Chronicle's review was no different, with a forty-point score paired with a terrible review, "Few films can do it: so magnificent, so grandiose, so grand, and yet so futile, so stupid, so sluggish." ”

The Seattle Post's review was funny, "It's a really bad movie, but it's very enjoyable; The lines and dialogues are often lethargic, but there is no shortage of witty and humorous passages. "A 50-point rating shows their neutrality.

The "Daily News" also scored 50 points, "just like the packing of Bush and Cheney, even the Democrats, no matter how smart, will lose to such a 'clumsy' combination." The movie also tells us in this way that even a genius director like the 'City of God' will make such a stupid and boring movie, as if it were 'Independence Day' or 'Peerless Apocalypse', and another summer 'masterpiece' that will be silent in the second week. ”

They not only ridiculed the "day after tomorrow", but also ridiculed the then president and vice president by the way, which really made people laugh.

"Like all disaster movies, the camera is always locked on the colorful personal life, as if the world's focus is on these few people when disaster strikes, and mass deaths and escapes elsewhere become a foil." 'The Day After Tomorrow' holds the weight of the entire film on Dennis Quaid and Jake Gyllenhaal – apparently, the two of them can't handle that weight.

Lancelot-Strello has surprised us and we are looking forward to seeing him different. But alas, he let us down. ”

The score of "American Weekly" is only 55 points, and we can deeply feel that they originally had more and more expectations for the "day after tomorrow", but unfortunately, in the end, the super high expectations still turned into a bubble.

In fact, this is also the situation that everyone fears before the release of the movie: excessive attention often makes the expectation value reach a high standard, which is a double-edged sword, if the movie meets expectations after release, then it will detonate the box office market; But if the situation is slightly less than satisfactory, then it will lead to an avalanche. At that time, it will be difficult to find a median value for the work.

After the confrontation between "Variety" and "The Hollywood Reporter", the criticism of the media is almost overwhelming, and you can clearly feel that the shoulders of "the day after tomorrow" maintain huge pressure, especially in the special circumstances of this summer, "The Day After Tomorrow" has fallen into a situation where there is no way out.

However, just like the absolute authority of "variety show", their praise for "the day after tomorrow" is obviously not a single force, on the contrary, corresponding to the critical voice, the voice of praise and support has reached unimaginable heights - even far beyond expectations, completely detonating the energy of this commercial popcorn movie! (To be continued.) )

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