The Weather Man (2005)

Chocano finds the film a sincere, wry, and contemplative character study that explores mediocrity and existential doubt. She especially praises the cinematography and the restrained performances by Nicolas Cage and Michael Caine.

French finds the film a brisk, modest comedy and an acute study of a father-son relationship. He praises its barbed humor, which keeps occasional sentimentality in check.

The accessible page identifies this as a film review, but provides no review text from which to determine the critic’s verdict. It likewise reveals no specific praise or complaint.

Ebert gives the film a mixed assessment of a man struggling with personal failure. The review focuses on the protagonist’s strained family relationships as the film’s central strength and concern.

The critic describes the film as a bittersweet lament and critique of American accomplishment. The standfirst singles out its less toxic take on the emotional wreckage of professional ambition.

Tobias finds the film overburdened by its hero’s dysfunction, though it has a welcome streak of black comedy. He singles out the affecting father-son scenes between Nicolas Cage and Michael Caine as its strongest element.

Schager finds the film’s attempt at off-kilter pathos forced and its moroseness contrived. He singles out Nicolas Cage’s fine, focused performance as a bright spot.

Pendreigh finds the protagonist’s domestic troubles difficult to care about given his lucrative career. He praises Michael Caine’s performance as the weatherman’s intimidating father.

The critic finds the film a bleak, dreary misstep and says its protagonist is difficult to sympathise with. Michael Caine is singled out for bringing affecting, world-weary dignity to his role.

Chang finds the film oppressively bleak and says its attempts at humor cannot make it approachable. He praises Hope Davis’s assured performance for bringing a refreshing, self-possessed energy to the film.

The critic finds the film deeply unsympathetic and unpleasant, with little of the hoped-for humor or uplift. They single out its jarring use of child molestation and pre-pubescent genitalia as running gags as especially unfunny.

Wilkinson finds the film compelling and effective at balancing everyday humour with pain. She especially praises its grounded portrayal of familiar family troubles.

Greenwood calls it a diverting, darkly comic film that is occasionally plodding. He praises Michael Caine, whose performance towers above Nicolas Cage’s restrained turn.