Of the first sixteen reviews of the "day after tomorrow", six were negative, while ten were positive, and the advantage was not obvious, but it was more clearly reflected in the score. In the case of a red negative review, the media comprehensive evaluation is as high as 64 points, which not only crosses the passing line, but also far exceeds the works of the same type.

A simple horizontal comparison can be made to understand the position of the media comprehensive evaluation of the "day after tomorrow": "peerless catastrophe" is forty-two points, "** day" is fifty-nine points, and "heaven and earth collision" is forty points. At the beginning of the century, the "perfect storm" that won a good reputation and achieved some success at the box office was rated 59 points by the media.

In fact, among the disaster movies in the past decade, except for the 74 points of "Titanic", no film of the same genre can cross the 60-point passing mark in the media comprehensive evaluation.

And now, "The Day After Tomorrow", after kicking off the summer file with a proud attitude in 2004, has also become the second work in ten years to break through the shackles of 60 points in the media comprehensive evaluation after "Titanic" with a score of 64 points.

Just this one detail, you can see the strong momentum after the release of "The Day After Tomorrow", and the criticism is also corresponding to the storm of praise, and the praise led by "Variety" has truly formed a group advantage, and the opponents led by the "Hollywood Reporter" have formed a confrontation.

Roger Ebert of the Chicago Sun didn't hesitate to give it an eighty percent, but a perfect four-star recommendation is more indicative of the authoritative critic's attitude, "Yes, it's a very childish film." But to my surprise, it's also a very scary, very scary work. In such a realistic work, the wonderful visual effects are immersive and empathetic. ”

In addition, Roger also gave a unique evaluation of Lance's second work, "Lancelot gives this work a sentimental temperament - although it is not very obvious, he injects his unique black humor and unique value orientation into the details of the picture and the dialogue of the lines, which is undoubtedly a very interesting attempt." Of course. It's not Reims' best work, but it's enough to keep us focused on him. ”

Joshua Rothkowf, a film critic of the "New York Times", also gave his own opinion for the first time, corresponding to the trend of public opinion on the West Coast led by the "Los Angeles Times", and the "New York Times" is undoubtedly the top spot on the East Coast of the United States. Even strictly speaking, the influence of the New York Times on the whole of America is unparalleled. However, in terms of entertainment, the "Los Angeles Times" has the advantage of being a landlord, so it is in the professional evaluation of movies and music. Able to stand up to the New York Times.

This time, Joshua is once again on the opposite side of the Los Angeles Times, "This is undoubtedly a magnificent, soul-stirring epic masterpiece that shows the interplay between reality and the future through realistic and shocking visual effects."

Within two minutes of the film's opening, the adrenaline is detonated, bringing the message of dangerous fear to every viewer, and always maintaining that tense and rapid panic and shock until the last moment of the film. I thought I had seen a similar movie, but I didn't; I had thought the second half of the movie would be disappointing. But, neither did I. ”

Joshua and Roger clearly see the same thing as heroes, and in addition to the same eighty percent evaluation, he also gave his opinion to Lance.

"There are two most important parts of a commercial film, one is the rhythm, the rhythm control that attracts the audience's attention at all times; The second is **, so that the adrenaline burst out of the plot brewing and promoting. In both respects, Lancelot showed great skill, not in any way like a newcomer who had only shot a second film. ”

Similarly, Joshua also gave a perfect four-star recommendation for "The Day After Tomorrow". The position is a clear expression of support for this work.

The Wall Street Journal gave it a score of 75, and in their commentary, they said, "'The Day After Tomorrow' is clearly more entertaining than 'City of God.'" Horror, excitement, sinister and moving throughout, with few moments of disappointment. Opening the curtain of this year's summer file with such a work will undoubtedly raise everyone's expectations. ”

The New Yorker also scored 75 points, "It seems like all disaster movies: magnificent visual effects, thrilling desperate survival, and a family trapped in the middle of a disaster with nowhere to escape." In the end, the Great Escape of Victory was achieved. But no one can deny that 'the day after tomorrow' is a completely different interpretation in the same pattern and structure, and the rhythm control and wonderful visual effects are impressive. ”

It can be seen that compared to the frenzy of "City of God", "The New Yorker" is still not very interested in commercial popcorn movies like "The Day After Tomorrow". Their reviews are limited in terms of a certain number of points, but a 75-point rating is still outstanding.

The Chicago Tribune gave it a 70 percent, but it was an interesting comment: "Lancelot-Strello is clearly a very characteristic director, he can make documentaries as if they were music videos, and he can make music videos as disaster films." ”

Just seeing this comment, everyone thinks that they express a strong disdain for "the day after tomorrow", but after reading the detailed review, you will notice that the 70% evaluation is actually a compliment.

"With the use of a large number of long shots and the advancement of panoramic shots, Strello sketches a picture of the apocalypse; With fast-cut editing and interlocking plots, Strello tells us a story of an adrenaline rush. There is no lone hero who can turn the tide, only a father who seeks family reunion; There is no Jedi reversal of man's victory over nature, only the vastness and desolation of human beings reaping the consequences.

It has to be said that on top of a thin and almost boring music video script, Strello injected rich and fresh flesh into the script framework and served this summer feast. At least, from the outside, it looks colorful and colorful; Once tasted, there are hardly more layers than sweet and icy, but at least...... It's a delicious bowl of fruit sundaes. ”

The Chicago Tribune's evaluation is really interesting, and the "day after tomorrow" is dissected in a mocking tone, although it is only seventy points, but it is indeed a good achievement for a popcorn commercial movie. What's more, they gave a three-star recommendation in the four-star perfect score recommendation system, which can also be seen in their positive feedback on this movie.

In addition to this, "Empire" magazine gave eighty points, "For a disaster movie, for a summer commercial film, we couldn't ask for more: Strello almost ruined the entire northern hemisphere, and the whole process was exciting!" It's worth a look! ”

The Washington Post also gave an eighty points, "The supreme entertainment, with its unparalleled horror reality, makes us scary to follow The Weather Channel after watching the movie, and who knows if the hurricane will make landfall in Los Angeles tomorrow?" ”

The "Film Review" gave a score of 70, "It's an interesting movie, a flowing, jaw-dropping first half of a disaster movie; The second half of a dull and cruel, real and vivid survival movie, and then pieced together into a magnificent summer masterpiece. It won't be a pity to miss it, but watching it may bring a touch of excitement to the summer. ”

From criticism to rave reviews, the day after the premiere of "The Day After Tomorrow" was met with an unimaginable uproar in the North American film market, with mixed reviews accompanied by polarizing attitudes, with supporters arguing that it was a popcorn movie that was absolutely not to be missed, and opponents arguing that the film's boredom was simply not worth wasting two hours of life.

But it is undeniable that, regardless of criticism or praise, there is a unified trend towards Lance's opinion: compared to the amazement of "City of God", Lance gives the film too little personal touch, disappointing, far less than expected. This is not a bad thing for a rookie director who has come out of nowhere, but at least it is not a positive sign, and people are bound to be even more demanding on his next film.

In Hollywood, the living conditions of geniuses are always so bad, which is why the chance of "hurt Zhongyong" in Hollywood is so frequent.

In this regard, Lance's attitude is very calm, "I am a director, not an artist. His clear stance and strict distinction between commercial and art films are reminiscent of Lance's previous joke that he made "City of God" as a commercial film.

Such a carefree attitude has sparked more debate, but no one can deny that the line between commercial and artistic directors has always been so blurred, from Steven Spielberg and George Lucas to James Cameron and Peter Jackson. Lance is not the first in the industry, nor will it be the last, on the contrary, Lance's attitude is the most suitable for Hollywood.

No matter how big the controversy is, the fact in front of us is that the media comprehensive evaluation of "The Day After Tomorrow" is as high as 64 points, and the excellence of the table xiàn makes everyone can't help but look sideways, although with the release of the movie, more and more media have joined the comments, and the final score is bound to fluctuate, but no one can deny that after the premiere, "The Day After Tomorrow" fought its way out of the controversy and won unimaginable attention...... And surely, this is something that no one, including Twentieth Century Fox, expected.

However, the measure of the success of a commercial film is never the comments of film critics, or even the comments of audiences, but the box office. For example, "Transformers 4", which was released in 2014, only scored 32 points in the media review, and even IMDB's audience score was only 5.8 points - not even passing, but the movie swept 245 million US dollars in North America and the global box office was as high as 1.1 billion US dollars.

This is a success for commercial films. So, what about the "day after tomorrow"? (To be continued.) )

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