Days Of Thunder

Release Date:Rating:

June 27th, 1990

Genres:

Action/Adventure, Drama

Subgenres:

Blockbuster, Racing, Romance

Plot Synopsis:

Tom Cruise plays a NASCAR driver who seeks to win on the NASCAR circuit. Even when things are getting out of hand, he will focus on his goal and overcome anything to be the best in NASCAR Racing.

Credits:

Directed: Tony Scott Written: Hans Zimmer, Tom Cruise
Starring: Tom Cruise, Robert Duvall, Nicole Kidman, Randy Quaid, Michael Rooker

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Official Site: NA

Studio: NA

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ffmotorsports51

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Days of Thunder is my favorite racing movie. My favorite part of the movie was the final chain of events. Cole Trickle fighting Russ Wheeler to win the Daytona 500.

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Posted aug 5, 2008 7:44 am pt

CTUBauer24

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A pretty good race car movie with a good story my rating of this movie is 3 stars.

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Posted mar 17, 2007 10:09 am pt

timcouchiv2

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a nascar movie about a young hotshot driver named cole trickle. he drives the 46 car and at first is always crashing but soon becomes a great driver and wins a bunch of races but then an accident puts a halt to his career and he must rely on a...
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Posted mar 15, 2007 12:51 am pt

freaksngeeks

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Top Gun on a race track.

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Posted dec 22, 2006 1:24 pm pt

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16 critics

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Critics Score Card

[+] Washington Post

80

Thunder is exactly what it promises to be: Not Much -- but at dizzying speed, stripped down and free of wind-resistant subtlety. There's a certain integrity to that. A certain deafening integrity.
by Desson Howe | Read Full Review »
[+] Washington Post

80

If "Top Gun" was a stylish bimbo of a movie, all cleavage, white teeth and aerodynamic flash, then Days of Thunder is its paradoxical twin -- a bimbo with brains.
by Hal Hinson | Read Full Review »
[+] Chicago Tribune

75

Days of Thunder, the latest Tom Cruise movie, which is a flimsy but nonetheless compelling story of a hot-shot amateur race car driver who wants to make it in the big-time world of championship stock car racing. Good writing by Robert Towne and a host of strong supporting performances complement the on-the-track visuals of director Tony Scott in giving us a sense of the leap of faith that is required by drivers at this level. [29 Jun 1990, p.C]
by Gene Siskel | Read Full Review »
[+] Chicago Sun-Times

75

And Cruise is so efficiently packaged in this product that he plays the same role as a saint in a Mexican village's holy day procession: It's not what he does that makes him so special; it's the way he manifests everybody's faith in him.
by Roger Ebert | Read Full Review »
[+] Wall Street Journal

70

The movie blurs into a continuum of cars pounding one another and closeups of faces showing disgust, happiness, fear and outrage. It's the kind of shorthand imagery that works best in brief spurts, say, the amount of time it takes for a television commercial to implant a spark-plug brand into your brain. [5 Jul 1990, p.A9]
by Julie Salamon | Read Full Review »
[+] Time

70

The nerve of these people, recycling that story. No, the shrewdness of these people. For Days of Thunder offers adolescent males the possibility of a high-speed crash almost every minute. It offers their dates the possibility of a shy, winning Tom Cruise smile on an equal-opportunity basis. The boys get some sober, silly chat about the nature of courage. The girls get to see one of their sex (Nicole Kidman) play doctor with Cruise. [16 July 1990, p.87]
by Richard Schickel | Read Full Review »
[+] Variety

70

This expensive genre film about stock car racing has many of the elements that made the same team's Top Gun a blockbuster, but the producers recruited scripter Robert Towne to make more out of the story than junk food.
by Staff (Not Credited) | Read Full Review »
[+] The New York Times

70

Tony Scottmdoes his utmost to pump up the audience's adrenaline at all times, which means that the film's big moments - the races, the crashes, the news that someone needs brain surgery - don't seem that different from the small ones.
by Janet Maslin | Read Full Review »
[+] Entertainment Weekly

67

The film, though sleek and easy to sit through, replaces genuine dramatic involvement with a superficial, rock & roll empathy-it's as though we were watching Cruise's character and playing air guitar to his emotions. There are plenty of soulless movies around. What's special about Days of Thunder is that it works overtime trying to convince you it's not one of them.
by Owen Gleiberman | Read Full Review »
[+] The Globe and Mail (Toronto)

63

Days of Thunder relies on charm, loud noise and a few racing sequences to print money with Cocky's visage on the bills: there can be no suspense because there can be no possibility Cocky will lose. [29 Jun 1990, p.C1]
by Jay Scott | Read Full Review »
[+] USA Today

50

This cliche primer is a bit more than bearable - even when it's literally and figuratively off the track. It's no Cocktail, but it's no Dom Perignon, either. [27 Jun 1990, p.1D]
by Mike Clark | Read Full Review »
[+] Rolling Stone

50

Screenwriter Robert Towne has certainly not challenged his gifts -- the script is loaded with stock cars and stock characters -- but he does deliver what's necessary: a workable setup for exciting NASCAR racing footage shot on sixteen Winston Cup tracks from Daytona to Watkins Glen.
by Peter Travers | Read Full Review »
[+] Christian Science Monitor

50

Days of Thunder wants to be an action drama, but it's really just a star vehicle of the most rudimentary sort, with nothing to offer Cruise except a chance to look pretty and chant time-tested punchlines. Ditto for the rest of the cast, which may be talented but gets little chance to show it here. [3 Jul 1990, p.13]
by Staff (Not Credited) | Read Full Review »
[+] TV Guide

50

Days of Thunder delivers only the bare essentials. Boys, the reasoning seems to go, will be lured into the theater by the siren call of gasoline and super-charged engines, while their girl friends will tag along to get a look at Cruise in tight jeans.
by Staff (Not Credited) | Read Full Review »
[+] Empire

40

Every motion, from the clamour of the racetrack to the sparring of teacher and pupil, has been worked out for audience satisfaction and grants none. This is not a real film, it is an automaton, a pod-movie, and, thankfully, proved the death nail for such high-concept filmmaking.
by Ian Nathan | Read Full Review »

See All Critic Reviews (16) »

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