War of the Worlds
An ordinary man has to protect his children against alien invaders in this science fiction action film freely adapted from the classic story by H.G. Wells. Ray Ferrier (Tom Cruise) is a dockworker living in New Jersey, divorced from his first wife Mary Ann (Miranda Otto) and estranged from his two children Rachel and Robbie (Dakota Fanning and Justin Chatwin), of whom he has custody on weekends. On one such visitation, looking after the kids becomes a little more difficult when, after a series of strange lighting storms hit his neighborhood, Ray discovers that a fleet of death-ray robotic spaceships have emerged nearby, part of the first wave of an all-out alien invasion of the Earth. Transporting his children from New York to Boston in an attempt to find safety at Mary Ann's parents' house, Ray must learn to become the protector and provider he never was in marriage.
Despite a significant budget of $132.0M, War of the Worlds became a box office success, earning $603.9M worldwide—a 357% return.
Nominated for 3 Oscars. 16 wins & 49 nominations
Peter Travers
"Travers argues that Spielberg's adaptation transforms H.G. Wells' 1898 novel into something the author wouldn't recognize, yet would understand. Unlike the campy 1953 film, this version is set in a contemporary world shattered by something resembling a terrorist attack. Travers praises Tom Cruise for delivering a complex, vulnerable performance as Ray Ferrier, a blue-collar screw-up forced to become something more. The reviewer credits Spielberg for putting a darker, modern spin on the material, creating genuine fear and panic rather than sci-fi spectacle."Read Full Review
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
War of the Worlds (2005) showcases precise dramatic framework, characteristic of Steven Spielberg's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 56 minutes. With an Arcplot score of 8.1, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 2 minutes (1% through the runtime) establishes Morgan Freeman's iconic narration plays over microscopic imagery as the camera pulls back to reveal Earth from space. "With infinite complacency, men went to and fro about the globe, confident of our empire over this world." Sets up humanity's vulnerability and thematic arrogance.. The analysis reveals that this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 21 minutes when The tripod emerges at Lincoln Avenue after 26 lightning strikes. The ground cracks open. A massive three-legged machine rises, emits a deafening horn, and begins vaporizing people with heat rays. Ray runs for his life as the world ends around him.. At 18% through the film, this Disruption is delayed, allowing extended setup of the story world. This beat shifts the emotional state to -1, launching the protagonist into the central conflict.
The First Threshold at 30 minutes marks the transition into Act II, occurring at 26% of the runtime. This illustrates the protagonist's commitment to Ray steals the only working car in town and loads his children. Despite Manny's protests—"Get in, Manny, or you're gonna die"—Ray drives away, leaving his neighbor behind. He commits to protecting his children by any means, entering the survival world., moving from reaction to action. The emotional journey here reflects 1.
At 60 minutes, the Midpoint arrives at 52% of the runtime—precisely centered, creating perfect narrative symmetry. Significantly, this crucial beat False Victory: Ray gets his family onto the Hudson River ferry. They're moving toward Boston, toward safety. Brief relief. Then a tripod emerges from the water beneath them, capsizing the ferry. Hope instantly destroyed., fundamentally raising what's at risk. The emotional state shifts to 4, dividing the narrative into clear before-and-after phases.
The Collapse moment at 74 minutes (64% through) represents the emotional nadir. Here, On the hillside, Robbie begs to be released to join the fight. Ray cannot save both children. He makes an impossible choice: he lets Robbie go. His son runs toward battle as a massive explosion engulfs the hill. Ray watches his son seemingly die., demonstrates the protagonist at their lowest point with -3. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 85 minutes initiates the final act resolution at 73% of the runtime. Ogilvy's madness will bring the aliens. Ray blindfolds Rachel, has her sing "Hushabye Mountain," then kills Ogilvy with a shovel. Synthesis: survival skills plus fatherly love equals the willingness to commit murder to protect his daughter., demonstrating the transformation achieved throughout the journey. The emotional culmination reaches -1.
Emotional Journey
War of the Worlds's emotional architecture traces a deliberate progression from 1 to 3. The narrative's emotional pivot at the midpoint—4—divides the journey into distinct phases, with the first half building toward this moment of transformation and the second half exploring its consequences. With 6 core emotional states, the narrative maintains focused emotional clarity, allowing sustained thematic development.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping War of the Worlds against these established plot points, we can identify how Steven Spielberg utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish War of the Worlds within the action genre.
Steven Spielberg's Structural Approach
Among the 33 Steven Spielberg films analyzed on Arcplot, the average structural score is 5.8, showcasing experimental approaches to narrative form. War of the Worlds represents one of the director's most structurally precise works. For comparative analysis, explore the complete Steven Spielberg filmography.
Comparative Analysis
Additional action films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more Steven Spielberg analyses, see E.T. the Extra-Terrestrial, 1941 and West Side Story.
Plot Points by Act
Act I
SetupStatus Quo
Morgan Freeman's iconic narration plays over microscopic imagery as the camera pulls back to reveal Earth from space. "With infinite complacency, men went to and fro about the globe, confident of our empire over this world." Sets up humanity's vulnerability and thematic arrogance.
Theme
Mary Ann, Ray's ex-wife, challenges him at the door: "Take care of our kids." Ray's dismissive response shows he doesn't yet understand what fatherhood requires. The thematic mandate is issued.
Worldbuilding
Ray's world of dysfunction: cluttered house with engine in living room, empty fridge, estranged children. Robbie calls him "Ray" not "Dad." Rachel relies on stepfather Tim. Ray works at the docks but can't cook dinner. TV news mentions strange storms in Ukraine.
Disruption
The tripod emerges at Lincoln Avenue after 26 lightning strikes. The ground cracks open. A massive three-legged machine rises, emits a deafening horn, and begins vaporizing people with heat rays. Ray runs for his life as the world ends around him.
Resistance
Ray staggers home covered in ash of the dead. His children don't understand. He must decide: stay or flee? He moves through shock into survival mode, packing supplies. The internal conflict is whether to trust his instincts and run.
Act II
ConfrontationFirst Threshold
Ray steals the only working car in town and loads his children. Despite Manny's protests—"Get in, Manny, or you're gonna die"—Ray drives away, leaving his neighbor behind. He commits to protecting his children by any means, entering the survival world.
Mirror World
In Mary Ann's mother's basement, Ray tries to comfort his children. He makes peanut butter sandwiches (Rachel is allergic—he didn't know). She asks for a lullaby; he doesn't know any. The B Story crystallizes: Ray must learn to be emotionally present.
Premise
The promise of the premise: survival horror setpieces. Plane crash wreckage. Highway of floating corpses. News crew explains global scope. Mob attacks the car. Car stolen at gunpoint. Society has collapsed; humans are as dangerous as aliens.
Midpoint
False Victory: Ray gets his family onto the Hudson River ferry. They're moving toward Boston, toward safety. Brief relief. Then a tripod emerges from the water beneath them, capsizing the ferry. Hope instantly destroyed.
Opposition
Ferry attack destroys illusions of safety. Family barely survives. Robbie becomes increasingly volatile, drawn toward military forces fighting back. Internal pressure mounts as Robbie challenges Ray's authority.
Collapse
On the hillside, Robbie begs to be released to join the fight. Ray cannot save both children. He makes an impossible choice: he lets Robbie go. His son runs toward battle as a massive explosion engulfs the hill. Ray watches his son seemingly die.
Crisis
Ray and Rachel shelter in Harlan Ogilvy's farmhouse cellar. Ray is shattered—he's lost his son. He sings "Little Deuce Coupe" as a lullaby, the only song he knows. Ogilvy descends into madness, ranting about resistance and tunnels.
Act III
ResolutionSecond Threshold
Ogilvy's madness will bring the aliens. Ray blindfolds Rachel, has her sing "Hushabye Mountain," then kills Ogilvy with a shovel. Synthesis: survival skills plus fatherly love equals the willingness to commit murder to protect his daughter.
Synthesis
Rachel is taken by a tripod. Ray allows himself to be captured to follow her. Inside the tripod, he throws grenades, destroying it. They survive the fall. Walking through dying Boston, they see tripods failing—Earth's bacteria are killing the aliens.
Transformation
Ray carries Rachel to the grandparents' brownstone. Mary Ann says "Thank you." Then Robbie appears—"Hi, Dad." He survived. Father and son embrace. Ray has transformed from absent father to proven protector. Morgan Freeman closes: "Neither do men live, nor die, in vain."