|Story & Screenplay|
|Sound & Music|
|VFX/Animation (if any)|
“2012” doesn’t bring anything new to the genre, but it is still one hell of a fun ride. It is everything you could possibly expect from a blockbuster disaster movie: an irresistibly visual spectacle that is perversely entertaining. The people behind these films really seem to live up to the idea that: “You don’t get off a roller-coaster and complain about the lack of storytelling.”
This popcorn flick is totally not credible when it comes to its showcase of unequivocally cheesy, ridiculous story; yet, it is hugely engaging with its mind-boggling visual effects.
The story is your basic end-of-the-world chaos narrative. It’s your usual Hollywood cash cow with the doomsday premise offered for mere escapism. They sure do blow up things real good. In fact, its graceless mess may kind of insult the intelligence of the logic-demanding crowd, but for some reason, it still leaves most people thrilled.
It is everything you can expect from such an apocalyptic movie material. The special effects are topnotch in making the film an intensely gripping experience where the protagonists are expected to flee and escape the most horrific events happening around them every single time. The main premise offers the usual mix of a flawed relationship in a typical American family, a responsible and all-good scientist, and a devoted and principled U.S. president — all struggling to make it through the last days of Earth.
The narrative is a chock full of cliches. Everything is too predictable that it’s really just a matter of enjoying the movie’s audio-visual flair — and nothing more. Nevertheless, some philosophical and emotional elements of redemption and the concept of survival of the fittest at least become apparent in some scenes — for a bit of spark about people’s existentialist notions of the world.
Formulaic and frenzied, this flick is undoubtedly a spectacular but ultimately silly blast from Master of Disaster Roland Emmerich (“Independence Day,” “The Day After Tomorrow”). In his tradition of catastrophic flicks, he offers another look at the end of the world in “2012.” This time around, it is the End of Days based on the idea that the Mayan calendar’s last day is said to be Dec 21, 2012. In the film, the earth’s crusts are shifting, causing earthquakes and volcano eruptions on a global scale, followed by inescapable tsunamis.
This motion picture follows the family’s journey towards their destination, en route to China, where the governments of the world have some sort of solution to the impending doom of the world through giant ships reminiscent of the bible’s Noah’s Ark, which convincingly shows the film as another Noah’s Ark story interpreted in a 21st Century setting.
“2012” heavily invests in cinematic time and popcorn. Its unrelenting pace, almighty effects, and sheer tongue-in-cheekiness make it consumingly enjoyable for its willing audience.
Emmerich provides rollickingly good visual thrills throughout. However, the movie lacks a strong script to support its massive scope and inflated length and turn it into a disaster classic in cinema history. It gets tad monotonous by the middle part and it further loses momentum by the last act. Things get too corny by the end that what keeps it really worth watching is indeed the fantastical, mind blowing visual feast it showcases from start to end.
This end-of-the-world story throws in bits and pieces from other disaster movies — with its familiar plot tapping into virtually every disaster flick ever produced.
Despite the consistently breathtaking sound and visual effects, the film’s acting performances are just a mixed bag. More often than not, actors including John Cusack, Amanda Peet, Chiwetel Ejiofor, Danny Glover, Oliver Platt, Thandie Newton, and Woody Harrelson live up to the nonsensical script’s requirements, but there are instances that they really find themselves dwarfed by the demands for CGI flair. It gets clear that it is quite a job to act in front of chroma screens and other movie-making machines, while pretending to be already seeing the apocalyptic mess described in the script in detail. At least, most actors are still able to keep some humanistic touches in their scenes to deliver that incredible sense of urgency brought about by the world’s end and that emotional struggle of trying to survive annihilation. They strive to keep up with some inane and mostly cliched dialogue.
Watch this movie for its effects. Take them for what they are and leave logic behind.