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Cruise playing a charming but self-centered average Joe is something of a departure from his usual roles, and he does an excellent job of selling Ray as a man who loves his kids, but doesn’t know how to effectively relate to or communicate with them. Spielberg loves to frame his alien encounters through the lens of family dysfunction and War of the Worlds is no different.
Unlike the novel, this version takes place in modern day America and follows deadbeat dad Ray Ferrier ( Tom Cruise) as he is left with his two children, Robbie ( Justin Chatwin) and Rachel ( Dakota Fanning) over the weekend. War of the Worlds honors the everyman perspective of the Wells novel instead of the typical alien invasion formula of following scientists and military personnel as they battle an otherworldly menace. While the film suffers from a botched ending, it is overall a tight and intimate exercise in unbearable tension, dread, and terror. While the film received mostly good notices from critics and decent worldwide box office, it has never been seen as one of Spielberg’s better films – and is often referenced as something of a misfire for the famed filmmaker, which I vehemently disagree with. Now 17 years later, War of the Worlds still packs a visceral punch. The sound system alone rattled my insides like a tuning fork – the resonating blast of the tripod’s horn a portent of doom. The images, sound, and immersive quality of the film sucked me right in. I still remember my theater experience watching Spielberg’s reimagining of the H.G. Steven Spielberg’s War of the Worldsremake fits the description rather astutely. Put simply, a cinematic epic is defined by its sense of scope – telling a human drama against the backdrop of enormous scale. Horror films are many things, but epic is usually not one of them. The Newsweek blurb that has graced every physical release of Stanley Kubrick’s The Shining calls it “The first epic horror film.” That quote has always stuck with me.
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