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The Weather Man
The Weather Man
The Weather Man
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The Weather Man
Theatrical release poster
Directed byGore Verbinski
Written bySteve Conrad
Produced by
Starring
CinematographyPhedon Papamichael
Edited byCraig Wood
Music byHans Zimmer
Production
company
Distributed byParamount Pictures
Release dates
Running time
102 minutes
CountryUnited States
LanguageEnglish
Budget$22 million[1]
Box office$19 million[1]

The Weather Man is a 2005 American dark comedy-drama film directed by Gore Verbinski, written by Steve Conrad, and starring Nicolas Cage as a Chicago-area weatherman who is in a midst of a mid-life crisis even as his career is potentially about to take off with a new job on a national television morning show. The film also stars Michael Caine and Hope Davis in supporting roles.

The film was released on October 28, 2005, and grossed $19 million worldwide. It received mixed to positive reviews upon release.

Plot

[edit]

A successful weatherman at a Chicago news program, David Spritz is well paid but garners little respect from people in the area who throw fast food at him, David suspects, because they're resentful of how easy his high-paying job is. Dave also feels overshadowed by his father, Pulitzer Prize-winning author Robert Spritzel, who is disappointed in Dave's apparent inability to grow up and deal with his two children. The situation worsens when Robert is diagnosed with lymphoma and given only a few months to live. As he becomes more and more depressed, Dave takes up archery, finding the activity a way to build his focus and calm his nerves.

David later remembers a conversation between himself and his father, where his father explains to him that "the harder thing to do and the right thing to do are often the same thing" and that "nothing that has meaning is easy". David appreciates this advice but struggles to implement it.

To prove himself to his father and possibly reconcile with Noreen, his estranged wife, Dave pursues a weatherman position with a national talk show called Hello America. The job would nearly quadruple his salary, but means relocating to New York City. When Hello America invites him to New York, he takes his daughter, Shelly, with him and bonds with her by helping her shop for a more suitable wardrobe. While away, Dave learns that his son Mike attacked his counselor, Don Bowden, claiming that the man wanted to perform oral sex on him. Despite this stress and an all-night drinking binge, Dave impresses the Hello America interviewers and is eventually offered the job.

When he returns, Dave slaps Russ, Noreen's boyfriend, when he finds him dealing with his son's predicament. Dave later confronts the counselor at his home, beating him up and warning him that he is in store for worse.

The family holds a living funeral for Robert organised by Dave's mother, Lauren, in which Dave asks Noreen to reconcile and move to New York, but she has decided to marry Russ. Dave and Robert have one final talk, in which Dave breaks down in tears, unsure of his life's choices. Robert consoles him, telling him that he has time to "chuck" the garbage of his life. Robert dies soon after.

The film ends several months later, after Dave has accepted the job and moved to New York. People have ceased throwing things at him though, he muses, this may be a pleasant side-effect of his archery hobby, for which he carries a bow.

Cast

[edit]

The film also includes cameos from media figures such as Bryant Gumbel, Ed McMahon, Cristina Ferrare, and Wolfgang Puck.

Reception

[edit]

The Weather Man received an overall score of 60% on Rotten Tomatoes and has an average rating of 6.1/10 based on 136 reviews. The site's consensus states: "With fine performances and a dark, dry sense of humor, The Weather Man is mostly cloudy with occasional rays of sunshine."[2] It has a 61 out of 100 score on Metacritic, sampled from 37 critics, indicating "generally favorable reviews".[3] Audiences polled by CinemaScore gave the film an average grade of "D+" on an A+ to F scale.[4]

The film was released in North America on October 28, 2005, and ran for nearly eight weeks (precisely 54 days). It grossed $12.5 million in the U.S. and $6.6 million internationally, for a total of $19 million.[1]

References

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The Weather Man

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from Grokipedia
The Weather Man is a American dark comedy-drama film directed by and written by Steve Conrad, centering on David Spritz, a television weatherman portrayed by , who grapples with the tensions between his professional ambitions and crumbling family life. The story follows Spritz, a local celebrity whose predictable broadcasts contrast sharply with his personal turmoil, including from his wife Noreen () and strained relationships with his teenage children. Offered a chance to host a segment on a national morning show, he confronts feelings of inadequacy overshadowed by his Pulitzer Prize-winning father, Robert (), a renowned author. Produced by and released on October 28, 2005, the film blends humor with poignant examinations of regret, parenting, and the pursuit of fulfillment in midlife. It received mixed reviews for its introspective tone and Cage's nuanced performance, grossing approximately $19 million worldwide against a $22 million budget.

Production

Development

The screenplay for The Weather Man was written by , who drew inspiration from observing local weathermen in and , where he noted the public's tendency to target them with random abuse due to their perceived inauthenticity and inaccurate forecasts, such as an incident where a friend threw a at weatherman Al Sunshine. Conrad infused the script with personal themes of mid-life uncertainty, reflecting his own experiences with , strained family relationships, and the pressure to gain approval from a high-achieving father, elements he developed over eight years of writing. The script was sold as a spec in April 2003 to producer of , marking a key step in its path to production. Following the commercial success of Pirates of the Caribbean: The Curse of the Black Pearl in 2003, director Gore Verbinski became attached to helm The Weather Man in August 2003, viewing it as an opportunity to transition from action-adventure to more introspective drama. This attachment aligned with Verbinski's interest in exploring familial dynamics and personal reinvention, resonating with the script's core. Nicolas Cage was also in early talks to star as the lead during this period. Escape Artists served as the primary production company, with handling distribution, and the project was greenlit with a budget of $22 million. planning commenced in early 2004, focusing on script refinements and logistical preparations in to capture the story's authentic urban setting, leading into later that year.

Casting

was cast in the lead role of David Spritz, the film's protagonist, due to his proven ability to convey awkward vulnerability in dramatic roles, particularly following his performance in Adaptation (2002), which showcased his range in portraying complex, introspective characters. Director sought an actor who could balance the character's professional facade with personal turmoil, and Cage's post-Oscar dramatic work made him an ideal fit for the part. Michael Caine was selected to play Robert Spritz, David's esteemed father, for his commanding screen presence and skill in delivering authoritative yet emotionally layered performances, which aligned with the role's demands for a figure of quiet intimidation. However, Caine's attempt at an American accent drew criticism for its inconsistency, with reviewers noting it occasionally slipped into his natural British inflection, though this did not detract from his overall impact. rounded out the central family dynamic as Noreen, David's ex-wife, leveraging her background in independent dramas such as (2002), where she demonstrated nuanced portrayals of strained relationships. Meanwhile, was cast as Mike Spritz, drawing on his emerging talent from About a Boy (2002), which highlighted his ability to embody troubled adolescence with subtle depth. In supporting roles, Gemmenne de la Peña portrayed Shelley Spritz, capturing the vulnerability of the character's youth, while took on Russ, David's colleague, adding grounded realism to the ensemble. To bolster the film's authenticity as a Chicago-based story, cameos by real television personalities including and were incorporated, appearing as themselves to evoke the world of local broadcasting. The casting process was primarily handled in , with additional auditions in to prioritize actors who could authentically represent Midwestern sensibilities and dialects, ensuring the production's regional flavor.

Filming

Principal photography for The Weather Man took place primarily in , , spanning from late February to May 2004. The production captured the city's urban landscape to underscore the protagonist's isolation, with filming wrapping on May 20, 2004, in . was completed in September 2004. Key locations included the WGN-TV building in , where interior newsroom and hallway scenes for the weather segments were shot on the first floor. The exterior of David Spritz's apartment was filmed at 29 N. Wacker Drive in downtown , though interior views were captured elsewhere. sequences, central to the film's thematic elements of aimless aggression, were recorded at Glisson Archery & Pro Shop in . Family home exteriors for the Spritz residence were shot in , specifically at 2430 Lincolnwood Drive. Finale sequences shifted to to depict the character's attempted escape from his life. The film's cinematography was handled by Xavi Giménez, who employed a naturalistic aesthetic to evoke the grit of Midwestern urban life. Production faced logistical hurdles in synchronizing with 's variable spring weather, which the script used metaphorically to parallel the characters' emotional turbulence, requiring flexible scheduling for outdoor shots.

Content

Plot

Spritz is a well-compensated but widely mocked television weatherman in , where locals frequently pelt him with fast food as he walks the streets, underscoring his lack of public esteem despite his professional stability. His marriage to Noreen has dissolved, leaving him separated and struggling to maintain relationships with their two children: their teenage son Mike, who faces arrest for drug possession and subsequent time in a rehabilitation facility, and their preteen daughter Shelley, an girl enduring relentless at school over her appearance and braces. Compounding these familial fractures is the terminal diagnosis of 's father, Robert, a celebrated Pulitzer Prize-winning whose disappointment in his son's aimless life looms large. As David's personal life unravels, he engages in a fleeting sexual encounter with Cheryl Timko, offering momentary distraction from his isolation. Meanwhile, he copes through , purchasing equipment and reluctantly enrolling Shelley in lessons in an awkward bid to connect with her, though she views the activity with disdain. Tensions escalate when David physically confronts Noreen's new fiancé, , by slapping him with riding gloves during a heated exchange, and he participates in interventions for Mike's recovery, navigating the boy's resentment and emotional volatility. Robert's illness progresses, marked by a poignant "" where the author reflects on his legacy and failings as a , further highlighting the generational disconnect with . David's career intersects with his crises when he receives an enticing job offer to co-host a morning show in , prompting deliberations about uprooting his life and potentially distancing himself further from his family. The random public assaults on David intensify, symbolizing his broader sense of vulnerability, while his archery practice becomes a solitary ritual amid the chaos. The narrative builds to Robert's eventual death, which forces David to confront his regrets during the and aftermath. In the resolution, David accepts the New York position and relocates, but subtle gestures toward family reconciliation emerge, including tentative overtures from Noreen and the children during a shared holiday meal. The film concludes on an ambiguous note of tentative hope, with David standing in the snowy Chicago landscape, bow in hand, aiming at an unseen target as if charting an uncertain path forward.

Cast

The film stars as David Spritz, a weatherman grappling with personal crisis. Cage previously won the for his performance in (1995). portrays Robert Spritzel, the ailing author and father figure. Caine has an extensive career highlighted by two Academy Awards for Best Supporting Actor, for (1986) and (1999). Hope Davis plays Noreen, David's ex-wife. She is known for her acclaimed role as Joyce Brabner in the biographical film (2003). Nicholas Hoult appears as Mike Spritz, the rebellious son. This role marked an early screen appearance for Hoult following his breakout performance as Marcus Brewer in About a Boy (2002). Gemmenne de la Peña stars as Shelley Spritz, the bullied daughter. In supporting roles, Michael Rispoli plays Russ McCaskill, Noreen's fiancé, while Gil Bellows portrays Don, his professional rival. The cast includes cameo appearances by television personalities , , and , as well as celebrity chef , each playing themselves.

Release

Premiere and Distribution

The Weather Man had its world premiere at the on October 20, 2005, serving as the closing . The film received a wide theatrical release on October 28, 2005, distributed by . Originally scheduled for an April 1, 2005, release, the date was postponed by six months to align with the fall awards season and enhance its potential for critical recognition. for the film was relatively subdued, highlighting Nicolas Cage's shift to a dramatic role and the story's backdrop to appeal to audiences seeking character-driven narratives. Internationally, distribution was limited to select markets, including release on December 9, 2005. The film became available on home media with a DVD edition released on February 21, 2006. By 2025, it streams on Paramount+.

Box Office Performance

The Weather Man was produced on a budget of $22 million. The film ultimately grossed $19.1 million worldwide, with $12.5 million earned in the and $6.6 million from international markets. It opened in 1,510 theaters across on October 28, 2005, earning $4.2 million over the weekend of October 28–30 and finishing in sixth place at the . The film's domestic theatrical run lasted approximately 54 days, concluding its wide release by mid-December 2005. The picture underperformed commercially, facing significant competition from top-grossing releases such as the horror film , which debuted with $31.7 million, and the family-oriented Dreamer: Inspired by a True Story, which earned $6.1 million in its second weekend. Positioned as a prestige drama by distributor , it received modest marketing support relative to broader-appeal competitors. In the long term, The Weather Man is regarded as a disappointment, as its worldwide earnings fell short of recouping the through theatrical revenues alone.

Reception

Critical Response

The Weather Man received mixed reviews from critics upon its release, earning a 60% approval rating on based on 136 reviews, with an average score of 6.1/10. The site's consensus praised the film for its "fine performances and a dark, dry sense of humor," describing it as "mostly cloudy with occasional rays of sunshine." On , it holds a score of 61 out of 100 from 37 critics, indicating "mixed or average" reception. Critics frequently lauded Nicolas Cage's nuanced portrayal of the protagonist David Spritz, highlighting his ability to convey vulnerability and emotional depth in a role that balanced humor and pathos. awarded the film 3.5 out of 4 stars, commending its "absorbing and morbidly fascinating character study" and Cage's compelling performance as a man navigating personal failures. Gore Verbinski's direction also drew praise for marking a departure from his action-oriented work, such as the Pirates of the Caribbean series, toward a more introspective exploration of suburban malaise and family disconnection. Reviewers appreciated the film's honest depiction of midlife regrets and relational strains, with noting its "moments of uncommon observation and touching insight." However, the film faced criticism for its uneven tone, which struggled to blend comedic elements with dramatic heaviness, often resulting in an overbearingly glum atmosphere. Variety described it as an "overbearingly glum look at a Chicago celebrity combing through the emotional wreckage of his life," pointing to aimless pacing and a perceived lack of narrative resolution. Michael Caine's attempt at an American accent for his role as the protagonist's father was another point of contention, with some observers noting it as unconvincing and distracting. Overall, The Weather Man has been regarded as an underrated character study that effectively captures the mundanity of personal dissatisfaction, though faulted for predictability in its character arcs. Despite its modest performance, recent retrospectives in 2025 have elevated its status, emphasizing its cult appeal as a poignant, overlooked in Nicolas Cage's filmography.

Awards and Nominations

The Weather Man did not receive nominations from major awards bodies such as the , , or BAFTA Awards. In 2006, was nominated for Favorite Motion Picture Actor at the for his roles in The Weather Man and . The film also had limited recognition from critics' groups, with no documented nominations for its cast or technical achievements in prominent categories. The premiered at the in September 2005 as part of the Gala Presentations, but it did not win any awards during the event. Overall, The Weather Man had a minimal presence on the awards circuit, reflecting its mixed critical reception.

Themes and Analysis

In recent years, particularly around its 20th anniversary in 2025, The Weather Man has been reevaluated as an underrated exploration of midlife struggles and familial tensions.

Family Dynamics

The interpersonal relationships within the Spritz family form the emotional core of The Weather Man, characterized by layers of tension, isolation, and tentative growth. At the heart of these dynamics is the fraught father-son relationship between Spritz, a local weatherman grappling with personal dissatisfaction, and his father, , a Pulitzer Prize-winning whose emotional distance fosters deep-seated resentment in David. Robert's subtle disapproval of David's and life choices—often expressed through terse advice like "easy doesn’t enter into grownup life"—leaves David feeling perpetually infantilized, an "overgrown child" in his father's shadow. This dynamic is echoed in David's own parenting struggles, as his emotional unavailability mirrors Robert's, leading to failed attempts to connect with his teenage children, Mike and Shelley, and perpetuating a cycle of familial disconnection. David's from his wife, Noreen, further intensifies his sense of isolation, with her budding relationship with another man serving as a stark reminder of his relational shortcomings. Co-parenting arrangements are marked by awkwardness and miscommunication, evident in strained gatherings and unsuccessful sessions where underlying resentments surface without resolution. Noreen's disapproval of David's and detachment underscores the breakdown, as he persists in accessing the children despite these barriers, often resulting in unintentionally hurtful interactions, such as an accidental snowball incident that symbolizes their fractured intimacy. Generational patterns of emotional unavailability come into sharp focus through Robert's diagnosis, compelling to confront the inherited flaws that have shaped their interactions across decades. Robert's illness highlights how his own reserved demeanor—contrasted with his worldly , as in the advice that "the hard thing and the right thing are usually the same"—has been passed down, influencing 's detachment from his own and exacerbating conflicts with Mike, who turns to unreliable figures for support, and Shelley, whose issues stem partly from paternal . The film's resolution arcs offer glimpses of incremental rather than complete redemption, emphasizing gradual personal evolution amid ongoing challenges. David's encouragement of Shelley's classes represents a step toward supportive fatherhood, acknowledging her vulnerabilities in a way that fosters subtle bonding. Similarly, his relationship with Robert reaches a rocky mutual acceptance in the face of the author's , providing a brief confrontation of their shared flaws without erasing past wounds.

Weather and Life Symbolism

In The Weather Man, David Spritz's profession as a Chicago television weatherman embodies the irony of attempting to forecast inherently uncontrollable natural forces, mirroring his own personal turmoil and inability to predict or control life's disruptions. Lacking formal meteorological training—having majored in communications—Spritz distills complex weather patterns into superficial broadcasts, a shallowness that parallels his oversimplification of family relationships and self-worth. This disconnect is starkly illustrated by public acts of disdain, such as passersby pelting him with like pies or burritos, symbolizing societal contempt for his perceived inauthenticity and the broader disdain for media superficiality. The film's Chicago setting amplifies these themes through recurring weather motifs, where harsh winds, relentless rain, and cold fronts visually and thematically depict the emotional storms raging in Spritz's life, evoking a sense of isolation and fragility akin to the city's frozen lake surfaces. These elemental forces underscore the chaos of midlife existence, contrasting with Spritz's hobby, which serves as a representing a quest for precision and control amid surrounding unpredictability—though his efforts often miss the mark, reinforcing the futility of imposed order. Screenwriter drew from real-life observations of weathermen facing public backlash to craft this symbolism, highlighting how external pressures exacerbate internal disarray. Existentially, the narrative draws parallels between life and forecasts, emphasizing the unpredictability and inevitability of change that Spritz must navigate. His eventual relocation to New York for a new professional opportunity signifies adaptation to this flux, suggesting a tentative of personal limitations rather than futile resistance. Director integrates these motifs through natural lighting that captures Chicago's grayish-blue and a sound design featuring sparse, percussive scoring by , which heightens the mood of stagnation and emotional desolation, thereby deepening the portrayal of Spritz's .

References

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