1001 Movie Collection

2 Comments for this entry

• Uma
  February 15th, 2010 on 9:58 pm

  This review is from: 2012 [Theatrical Release] (Theatrical Release)

  So, when the world ends, it’s the politicians and bureaucrats that we’re gonna save, and the writers and the artists and the spiritual leaders are left behind to deal with the apocalypse. That was the most depressing element of the movie. What will the world look like if we only save the “important people” in Washington? Heaven help us. Seriously. If the future world is to be populated with the slimy-dog politicians and their ilk, I think I’ll take my chances with eternal life, thank you very much. Sitting in the darkened theater watching 2012, I was reminded of “The Bunker” at White Sulphur Springs (in West Virginia). Construction on the 110,000-square-foot bunker was started under Eisenhower’s watch, when we were worried that the USSR might blow us up into lots of radioactive pieces. Turns out, our beloved elected officials were prepared to push The Red Button that’d end the world as we know it, and then turn-tail and run into their bunker, slam the blast-proof door behind them and emerge 90 days later when the danger had passed. And the most amazing part: The Bunker is outfitted with gee-whiz features that’d lead the unsuspecting public to believe the lawmakers were still comfortably ensconced in Washington, DC. In other words, The Bunker was *designed* to perpetrate a fraud on the American people. Watching “2012″ I thought about The Bunker and realized, this movie is probably right. If and when the world ends, it’ll be the politically important that are given seats on the lifeboats. And it’s probably right that if there is a cataclysmic event, the Powers That Be will not tell the unwashed masses what’s going on, lest they try and steal one of those seats on the lifeboat. That’s just depressing on so many levels. But I digress. This movie is definitely impressive on the big screen, and the soundtrack has plenty of bass (which I like). But the script and the writing was a little sappy for my tastes. And as to believability – well – this movie fell short on that score, too. I don’t want to spoil the plot, but NO ONE can drive a limousine *that* well. On the plus side, the graphics are truly amazing and scarier than anything I’ve ever seen before. I had to turn away from the screen to avoid some of the scary-as-hell images. It’s a pretty intense flick, and it does a good job of drawing you in. A nice side effect: After watching this movie, I’m a lot less worried about getting those pesky credit cards paid off. Does make you think a little more about enjoying every day, and appreciating the simple beauty in our world. In conclusion, it’s an interesting flick with awe-inspiring graphics, and it’ll hold your attention – if you can suspend disbelief for a couple hours.
• Zuna
  February 16th, 2010 on 12:51 am

  This review is from: 2012 [Theatrical Release] (Theatrical Release)

  I think people judge these movies very unfairly. It surprises me when a movie like 2012 comes along and it’s ripped apart before it’s even released. “This movie’s gonna blow, it’s two and a half hours of things blowing up.” I have to play back the sentence in my mind and figure out what was negative about that concept. These movies are meant to be fun, and usually nothing more than that. I say “usually” because sometimes you get a movie that has absolutely no other reason to exist than to make things explode and momentarily lower your IQ (Transformers: Revenge of the Fallen (Single-Disc Edition) is out now. Fun movie.) but occasionally you get something like 2012, which not only offers the calculated mayhem that fans of the action genre desire, but it also offers a surprisingly deep philosophical undertone. Go figure, right? The movie opens with a fifteen minute montage that sets up the events that will eventually transpire on 2012, and gives us a look at the backroom dealings that occur in the wake of this disturbing discovery concerning the fate of humanity. Once that’s over with, the movie picks up rather quickly, introducing us to the main character, Jackson Curtis, his more-than-dysfunctional family and a grab bag of supporting characters. After a botched camping trip, things kick off rather quickly. What follows are two hours of absolute chaos. The CG in this movie is astounding, and I cannot stress this enough. The action is relentless, creative, and satisfying on the whole. The LA sequence alone will have you smiling, then you will realize you still have a lot more movie to go, and it never disappoints. The pacing is excellent in this regard. I was in awe the entire way through. That’s the bottom line: If you love action movies or a good old fashioned thrill ride, the disaster sequences alone are worth the price of admission (unless you’re an astrophysicist, in which case you might be crossing your arms and groaning at this film all the way through). But what I liked the most about this film was its underlying religious theme. People might be quick to pick up on the major references to this, such as (POSSIBLE SPOILER, though it’s in the trailer): the crack forming between Adam and God on Michelangelo’s “Creation of Adam” at the Sistine Chapel, the destruction of Christ the Redeemer, Vatican City, and the Buddhist temple. With these and other biblical references that you will miss if you blink, Emmerich seems to postulate a world in which you don’t need God for miracles, and where everyone is back on even ground again. Another theme that Emmerich sets up is the social borders that divide us more than we think. In a world that is coming to an end, it’s not the strong who survive, only the smartest and the wealthiest. The film argues against utilitarianism on several fronts, going so far as to say that to embrace such a concept to an outrageous extent, even to save mankind, would result in a race of humans deprived of its humanity. Now, I could be wrong. I’m not saying that my interpretation of the movie is spot on, but the movie did make me think, and that’s what I found remarkable returning home from watching a film in which I thought I was just going to watch things blow up for two hours. I walked in knowing that no one makes disaster movies better than Roland Emmerich, but I ended up watching something that entertained me immensely, made me think, and spurred on a very long conversation between my friends and I. THAT’S how a movie more than earns the price of admission.