B

“The Weather Man” is set in a very wintry Chicago, and the palpably frigid atmosphere (captured in beautifully glistening tones by cinematographer Phedon Papamichael) certainly complements the emotional temperature of the film by director Gore Verbinski (“Pirates of the Caribbean”). David Spritz, the television personality of the title played by Nicolas Cage, is quite simply a wreck–a guy whose celebrity earns him as many public brickbats as compliments (passersby who recognize him are more apt to fling fast food and drinks at him than to toss him a friendly greeting) and who’s anxious about a possible promotion to a remunerative gig on a network morning show based in New York. As if those professional problems weren’t enough, Spritz is separated from his wife, his two kids are both facing serious difficulties (son Mike is propositioned by a male counselor he’s gotten too close to in his father’s absence, and overweight daughter Shelly has entered a state of profound apathy and rebellious behavior) that he’s incapable of dealing with, and his father Robert (Michael Caine)–a prize-winning novelist–is struck with a serious illness. It’s no wonder that Spritz regales us throughout the picture with narration in which he gloomily enumerates the indignities he suffers and comments on his inability to contend with the difficulties he faces–especially trying to get his family back together again. (Indeed, Cage talks through this film about as nonstop as he does in the recent “Lord of War.”)

But “The Weather Man” isn’t a grim drama, it’s a dark comedy. And if you’re in the mood for some hollow laughter, it’s a pretty good one. Spritz could be a tragic figure, but as Cage plays him–in a flamboyant but controlled turn that hearkens back to his early work in pictures like “Vampire’s Kiss”–he’s a fumbling, ludicrous fellow whose misfortunes often seem self-inflicted. But his mostly ineffectual efforts to cope aren’t merely bleakly humorous–they’re often also oddly poignant, even touching, and (in a few cases) somewhat heroic. Steven Conrad’s screenplay manages to balance the disparate elements pretty well, and Verbinski and Cage capture the combination effectively on screen.

But they’re not alone. Though Cage easily dominates things, Caine exudes intelligence and restraint as David’s unflappable father, and Hope Davis brings spirit and charm to the underwritten part of his estranged wife Noreen. And the youngsters are excellent as well. Gemmenne de la Pena gives Shelly an appropriately bovine attitude without becoming simply dull, and Nicholas Hoult is even finer as the naive, troubled Mike, whose roughed-up innocence David must finally rouse himself to protect. The picture also benefits from professionalism in all the technical areas–not only Papamichael’s elegant camerawork but expert production design by Tom Duffield and art direction by Patrick Sullivan. The background score, by Hans Zimmer, mirrors the shifting moods nicely, too.

“The Weather Man” is hardly likely to match the success of Verbinski’s “Pirates”–for many viewers it will probably seem just too dour, even depressing a portrait of a life of not-always-quiet desperation to warm up to. (Given the chilly Chicago climate depicted here, warming up would seem difficult under any circumstances; it would be wise if theatres didn’t run the air conditioning too high while showing this picture.) But if you’re in the mood for a comedy in which the bitter definitely exceeds the sweet, and are willing to mix your laughter with a large quota of sympathy for other peoples’ pain, you’ll find a good deal to admire and enjoy here.