2012

They had all the money, actors and special effects they needed so how did they manage to screw this one up? Obviously they thought exiting moments were more important than developing deeper characters and that's why this story that had great potential stayed so shallow. The dialog was always cheesy and none of the 'hero's' in this film really showed any real emotions nor did they give any of those speeches that give the audience goose bumps. Another thing that really bothered me was that so much was almost going wrong the whole time. Every second of the film had a 'close call' which made the film seem totally unrealistic. Examples are planes taking off just before the runway collapses or driving just fast enough to not get hit by an explosion. This can be very cool if it doesn't happen 100% of the time and I have never seen a movie abusing this way of creating excitement to this extent. So to sum up: If you feel like turning your brain off and watching special effects and big explosions with a very shallow storyline then this movie is for you. But if you feel like watching a movie with a bit of depth then go and see something else.

I went to an advance screening of 2012 a few nights ago and I have to admit that this movie was entertaining at best and that's it. The whole movie is almost entirely comprised of special effects. Of course you'll see all of the lead characters survive scenarios that a regular human being would not. Some of the scenes are so ridiculously unbelievable that you want to laugh at the fodder that's being expected of you to believe. Emmerich certainly pushes "suspension of disbelief" to its limit.

John Cusack and Woody Harrelson are the only actors that attempt to hold the film together, while Danny Glover and Thandie Newton were an utter and complete let-down considering their previous work history. You won't see any remotely Oscar-worthy performances here. The casting of this film seemed off and poorly executed. You could tell the bulk of the financial budget went to the special effects and not the actors.

The thing that I found thoroughly disappointing about 2012 is that it's almost entirely lacking of any interesting backstory or intellectual substance whatsoever. There's very little mention of the Mayan calendar, Mayan history, or any of the prophetic wisdom that has foreseen the supposed end of days. The fear, analysis, curiosity, and everything else you've ever wondered about this new mysterious year that is quickly approaching is almost entirely removed from this film. That would have and could have made this film closer to a 10 if I didn't feel like my brain was utterly wasted on this CGI and special effects bonanza. They try to cram so many explosions, eruptions, earthquakes, and natural disasters into two hours that I might be a little desensitized to the real thing if it ever happens. After awhile nothing felt realistic or interesting about it at all.

It's novelty entertainment at best and that's it. You won't wince at how painfully awful this movie is, and you won't walk away knowing anything meaningful about 2012, but hopefully you'll help repay Sony pictures for the exorbitant amount of money that they and Roland Emmerich spent on their special effects budget. Don't say you weren't warned.

If you've seen Independence Day, Titanic, or any recent vintage of the well-worn disaster film genre, you will not be disappointed at all with any of 2012. Its 2.5 hour+ running time moves at a great clip, and there's enough science and pseudoscience running around to give the film a certain of-the-moment wonder and clarity. The many destruction sequences throughout the film are absolutely breathtaking to behold, and one wonders if Roland Emmerich starts every film imagining how he will destroy the White House. Like all of his other films (except for The Patriot) it has big names but no huge names and really is a blast to watch. It has just the right balance of action and melodrama, often, as with all good films of this genre, in the same scene. The audience I watched it with was laughing and cheering throughout, and I'm sure it will be the definitive event movie of the holiday season, critics be damned.

Who knew the end of the world could be such a bummer? In "2012," the first and certainly not the last big-studio bid to cash in on the supposed coming apocalypse, Roland Emmerich once again lays waste to Earth and its assorted famous landmarks, but this time it's with a touch of exhaustion, an almost routine finality. Maybe it's middle age (it's his first apocalypse since he turned 50). Or, maybe, it's because to a consummate destroyer of worlds (four doomsdays and counting), the true end of days is really just the final dreary step. Few images, after all, beat that of the California coast crumbling into the ocean like a sinking aircraft carrier, or of the subsequent barrage of flaming volcanic rock that pummels the earth when Yellowstone finally goes kaput, blowing its literal top and the audience's already torpid movie-going mind.

Both of those sequences are given high prominence in "2012," though neither is predicted by the end of the Mesoamerican long-count calendar, from which this movie takes its name if not much else. Weaving escapist fantasy into scientific fact has long been the prerogative of high-concept vehicles like "2012," which omit most of the finer factual details (the Mayans never actually wrote of the end of the world, for starters) to make their own pseudoscientific conceits appear frighteningly plausible. That may explain why "2012" takes a nominally more scientific approach to the cataclysm (neutrinos, crust displacement, blah, blah, blah), though even Chiwetel Ejiofor, as the president's scientific adviser, seems to know that it's all one big joke long before Woody Harrelson, as some sort of apocalyptic hippie fanatic, can pop his eyeballs and declare, "It's the apocalypse, man!"

Mr. Harrelson's character doesn't figure much into the story beyond the usual wise fool archetype, though at least his bug-eyed mugging gives oomph to what is otherwise a pretty unremarkable disaster flick. The real selling point of "2012" is, of course, the annihilation of our planet and most of our species, and, if nothing else, the destruction here can hardly be called boring. That's to be expected, seeing that Mr. Emmerich is certainly an old hand in the industry, having already vaporized, trampled, flooded and frozen the planet solid, not to mention raked in a collective ten-figure sum at the domestic box office. Considering the worldwide scale of "2012" and Mr. Emmerich's incurable tendency to one-up himself, it's also no surprise that here he works so relentlessly to cover all his catastrophic bases, from the pulverization of the Vatican to the inundation of D.C., to the purely extraneous sight of a cruise ship keeling over, Paul Gallico-style, upending the galley and its many digitally- rendered flailing human bodies.

But, seriously, what's the point anymore? Like most apocalyptic trifles, "2012" trades on the doomsday scenario to stake the usual forgettable claims at the resilience of the human spirit (and the American nuclear family) but mostly it just wants to watch the world burn, sometimes literally. The human race is ending, after all, and if that end never really resonates in "2012," it's because not even Mr. Emmerich seems interested in examining it beyond the visceral level. Although he duly taps his emotional well by occasionally bringing you close to the calamity – the tiny human bodies tumbling from a collapsing freeway are certainly frightening – it's hard to feel awed by or even care at all about any of it when all the man wants to do (and wants us to do) is have a good time.

"2012" is a pretty much a romp, then, and, for its first ruinous hour at least, a reasonably satisfying one. The sturdy B-movie screenplay by Mr. Emmerich and Harold Kloser actually picks up in 2009, giving time to introduce a few of the leading men and women who will figure into the imminent end, some of them likable (Mr. Ejiofor), others abhorrent (Oliver Platt as a blustering government bigwig), most of them just plain boring. Three years later, as the cracks in the Earth and the story become wider and more worrisome, more people come into play, in this case an everyfamily (John Cusack, Amanda Peet and their two burdensome children) we're meant to follow while modern civilization crumbles around them, in increasingly spectacular ways.

But the spectacle wears off and the movie soon drags, done in when Mr. Emmerich's exuberant flair for devastation gives way to his seriously underwhelming affinity for family soap operatics and teary moments of worldwide harmony. Part of the problem with movies like "2012" is that even with the latest brand of pricey computer-generated effects at their disposal, such wizardry tends to undercut itself when you stop and realize that almost none of what you're seeing is really there, really happening. Mr. Emmerich is not entirely to blame, of course, though it's nonetheless a wonder that after three stabs at destroying the planet, he still can't avoid the disconnect between human tragedy and worldwide destruction that runs through "2012" like a fissure and keeps even its most realistic-looking disasters from ever feeling remotely real. Which may make it the perfect tonic to this particular ploy of the paranoia market.

Roland Emmerich was armed with a $200 million budget, and this is what it produced. It's an easy film to dislike from an intellectual level, artistically as well, while the science fiction boffins no doubt had kittens where the science was concerned. It's also easily one hour too long in length, and come the second half of the marathon it starts to sag. There's only so many times you can watch your lead protagonists escape crumbling carnage - via various modes of transport - before the fun factor begins to wane. However.

The carnage effects are grade "A" stuff, eye popping and ear splintering, Emmerich is a master at this sort of thing, and with a likable cast comfortably chewing through the safe disaster film making screenplay, it's a very decent popcorn blockbuster. It also isn't afraid to explore some dark moments, all of which - while not all being a surprise - strike strong emotional chords. It knows its disaster movie roots and is happy to tug on them.

2012 made a $500 million profit, that's a figure not to be ignored. The blockbuster movie loving public lapped it up, they often love this stuff, they just want to see the world exploding and chases and crashes and humans imploding or being heroic. If you have to strip it bare on any sort of cerebral level, then of course it's naked. But fully clothed, attired purely in modern film popcorn clobber, then it's grand dramatic and exciting fun. And this even as you have to massage your buttocks at the two hour mark. 7/10