The Weather Man

A festival of sensitivity and a pleasantly civil look at a grizzled weatherman dealing with a proper existential crisis. Gore Verbinski's well-known directorial mannerisms are undeniable here, but it's actually more of a plus. On the one hand, it’s a rather intimate and psychologically complicated story; on the other hand, all the visual flourishes and tricks notably enhance the viewer's experience. On top of that, Nicolas Cage gives one of his best performances. [80%] (16/01/2022)

Verbinski drifted away from blockbuster waters to a strange picture about another “loser" suffering a middle-age crisis. It isn’t at all original; mainly it lacks any common theme to make the separate scenes, which are good in themselves, make sense when put together. Although this is no American Beauty, it has a pleasantly melancholic air to it and thanks to Cage and Cane it is certainly worth watching. Primarily for Cage, this and Lord of War signals a return to quality acting performances. Too bad that its potential is exploited very little; it should have cut much deeper... (08/04/2006)

A film for all those who have come home at least once, sat down in a chair, and for some unknown reason, felt sad. Although I was slightly disappointed right after watching it, a few days later, I sat down just like that and suddenly I saw Cage and Cain in the car, joking about a funeral speech, and I understood that Verbinski conveyed what he wanted to say in the most stylish way possible. (30/08/2006)

A sequence of episodes that don't hold together and lack a point. A strange mess that unsuccessfully plays at being art and a clever film full of life wisdom, but it is neither. Verbinski should not be attempting a new American Beauty and should stick to what he does best: seasonal blockbusters. However, the reborn Cage was great, and the fact that he doesn't get out of the picture the whole time makes this film even more watchable. 2 1/2 *. (16/03/2006)

The Weather Man is a melancholic “drama from life” about a guy who comes to terms with his own shortcomings and thus finds himself. It is less sentimental and episodic than The Pursuit of Happyness and less theatrical and superficial than American Beauty. Talented craftsman Gore Verbinski affirms his feel for impressive visuals and an original take on relatively conventional material. The film loses its clear direction in places, but the accurate and intelligent expression of the final idea makes it work well as a whole. If you watch it at the right time, you may find itdd unforgettable. (17/02/2007)