2012 Review: World ends at a theatre near you…

“You feel pretty stupid, when you realize that all those street-lunatics proclaiming” The End is nigh “were basically right ….”

 The sun has the hiccups and sends bad-neutrinos gen earth, thereby heating up the Earth’s core and delighted the world with disasters. Although the government has a plan, but as the Doomsday at the door faster than expected, struggling humanity, and the writer Curtis Jackson to survive with his family killed …

What Roland Emmerich delivers here is nothing less than an Excited “best-of-Disaster Movie.” It’s about the childlike joy of total destruction, which is performed entirely lovely and visually inspired. Reasonableness must be conditional asked who dares the shaky internal logic of the spectacle in question has probably little problems with it, take every second of 2012 effectively disperse. As cheesiger big-budget B-movie, whose statements are as naive as that of the monster and disaster movies of the 50s and 70s, he still works amazingly well.

This is surprising, because the story is original and expiry definitely do not. Emmerich and his pal and screenwriter Kloser here destilieren the essence of stereotyped action situations. The really impressive and visually daring escape from LA, which literally sinks behind the reluctant hero in the Nothing is so over-the-top, it cited many specific moments of other disaster films, it is solely by this brazen accumulation of its own small work of art stand entirely by itself can.

Even if the additional scenes not quite up to this flight range, it makes it fun to watch the downfall of the world. Volcanic eruptions, tidal waves, earthquakes, fires, rock falls – Emmerich takes on everything but the kitchen sink to draw the audience into his dance to effectively staged disaster.

That these tactics work and bring the audience enough interest for the disaster victims is almost leisurely in the first 20 minutes, which is dealt with by small allusions to the outbreak, introducing the main characters. Cusack is relying on his slightly nerdy basic sympathy, Oliver Platt plays the government official with refreshing ambivalence that never slips into perfectly flat malignant, Chiwetel Ejiofor is also a walking Conscience grundsympathisch, Woody Harrelson Strabenirren transcends the ordinary into IMAX’s format and women and children and the other supporting roles also serve their purpose. We love and know the characters before it comes to the big bang. Since it is forgivable if none of them actually draft and serve as its character changes rather slight variations of their initial impression.

Pleasant, moreover, that Emmerich not only the camera stays still and economical with shaky close-ups (handles, unlike many other modern action movies, so to actually know and understand is what is happening), but he also denies himself a thing any Militärglorifizierung, weapons and war machines porn that make the works of his colleagues often so unansehbar. Here are the many natural disasters, there is no need for the shootings is still a large audience in the face of the world’s end to keep the rod.

What the film can not be serious drama. As of old in the “Flaming Inferno”, the “destruction of Poseidon” or “earthquake” is the movie on an ironical distance, while the viewers interested, but not really involved continues. It’s the end of the world as we know it, and I feel fine. There is something strange when Woody Harrelson howling of the volcano, or John Cusack slipping into a crevasse, from which he – as we know – certainly in the last moment will reappear. It belongs to the Transcript of the disaster genre, that such situations arise – but it also includes that the viewers know what roles to survive, and what guarantees are going to die a sacrificial death. There’s 2012, despite the apocalyptic dimensions of the disaster, but only a harmless roller-coaster ride, which even lags behind the “draft policy” of “Day after tomorrow”. The world is coming, but is noticeably not the whole, the death of billions of people is – paradoxically – not the theme of the film. It’s silly silly fun – who denies himself a thing any political, socially as well as religious propaganda. Apart from small swipes at Rome.

“Organized religion is what you fall on your head,” said the screenwriter Kloser in conversation the other day after the preview, with a view to collapsing the Vatican, the Pope and believers like mitplattwalzt. The apocalypse does not come from God, yet he will save us. Help yourself, the only message seems to be the soufliert the film.

The conciliatory end, which – after a few twists and turns might be a little tighter and told some lengths have – the television series paves the way, could make 2012 the most expensive pilot episode of the story, which also raises the bar for all future disaster movies so high that it spontaneously is difficult to imagine an increase of this disaster compendium. The movie is fun, but also so oversaturated with spectacle, which is adjusted a bit to feel a family pack of Haribo aufgefuttert have. Another volcanic eruption, or a city sliding into the sea, another aircraft carrier, the White House plattmacht must be really for the next few years will no longer be.