No spare fuel for cremation.
No spare fuel for bulldozers.
Wasteful of manpower to dig pits by hand.
It is a decade since
The Day After Tomorrow was released. Not the exact date (May 28th), since I've remastered the art of missing deadlines and got
beaten to the subject. It's not a seminal film, nor ground-breaking in narrative or special effects; it is, however, the last Roland Emmerich film I enjoyed. Emmerich is something of a fetishist for destruction having made many many films about disasters - most famously and well-received
Independence Day, and most infamously and less well-received
Godzilla. Then there was
2012 for which I presented
many criticisms a year and a half ago, primarily that is was built on a non-premise and the idea that it was somehow sci-fi. Emmerich was originally going to step away from the disaster genre but unfortunately
went back on his word because he believed it was too good a concept to pass-up. See my criticisms for why I honestly have no idea how those words could reflect what sets '2012' in motion. However, let's get back to discussing The Day After Tomorrow (herein TDAT).
