2012: It's the end of the world as we know it ... so bad it's good
Chris Moskaly
Issue date: 11/13/09 Section: Reviews
Box-office profits have certainly proven that better technology leads to more epic proportions when studios are trying to sell a ticket, but as an avid supporter of the "traditional style," it would appear as though selling the "story" has either become second-rate, or of no rate whatsoever to modern filmmakers.
Now granted, there are some exceptions to this statement (i.e. Clint Eastwood, Quentin Tarantino), but even when I myself am ready for a "mindlessly fun" time at the theater, there is still an unsettling feeling in my gut when you realize that more than half the people who saw it can't tell you what the hell it was about. All they can tell you is "how cool" it looked.
Maybe I'm just not programmed the way some of my friends are, but even with that notion taken into consideration, Emmerich is still not Bay in many ways. When you walk out of a Bay movie, it almost disappoints you if you don't feel exhausted or overwhelmed. Whether it's a feeling of letdown such as "10,000 BC," or one of exhilaration such as "Independence Day," Emmerich always sends me home ready to talk about what he's done, and if it is indeed his final project as a director, "2012" is simply a ramification of what happens when you send a little kid on a scavenger hunt through the "disaster" section of a video store.
Demanding perfection might be too-out-of-reach, but if polished real well, the ring itself can make one hell of an impression.
Now granted, there are some exceptions to this statement (i.e. Clint Eastwood, Quentin Tarantino), but even when I myself am ready for a "mindlessly fun" time at the theater, there is still an unsettling feeling in my gut when you realize that more than half the people who saw it can't tell you what the hell it was about. All they can tell you is "how cool" it looked.
Maybe I'm just not programmed the way some of my friends are, but even with that notion taken into consideration, Emmerich is still not Bay in many ways. When you walk out of a Bay movie, it almost disappoints you if you don't feel exhausted or overwhelmed. Whether it's a feeling of letdown such as "10,000 BC," or one of exhilaration such as "Independence Day," Emmerich always sends me home ready to talk about what he's done, and if it is indeed his final project as a director, "2012" is simply a ramification of what happens when you send a little kid on a scavenger hunt through the "disaster" section of a video store.
Demanding perfection might be too-out-of-reach, but if polished real well, the ring itself can make one hell of an impression.
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