2012 (12A)

Roland Emmerich, 158 mins

Reviewed,Nicholas Barber
Sunday 15 November 2009 01:00 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

Following on from Harry Brown, 2012 is a similarly balanced and thoughtful piece of work. It's directed by Roland Emmerich, the maker of Independence Day, Godzilla and The Day After Tomorrow, and it must have come about when Emmerich looked back at his oeuvre and decided that it was all a bit too subtle.

Where once he was content to nuke a landmark here and there, now he brings us global earthquakes caused by rare solar eruptions ("That's impossible," exclaims top science person, Chiwetel Ejiofor). In the opening minutes, the customary black President (Danny Glover) informs his fellow G8 leaders that: "The world as you know it will soon come to an end."

At least Emmerich isn't holding back. 2012 is an unremittingly frantic, noisy uber-disaster movie that boasts a big running time, bigger product placements, and clichés that are bigger still. The biggest component of all, naturally, is devastation, so if you want to see whole cities toppling like Jenga towers, then you'll get your money's worth. Bear in mind, though, that those cities are all computer-generated, and while they're computer-generated very skilfully, they still don't have the weight of even the flimsiest plywood scenery. Again and again we watch John Cusack drive his family away from destruction, either in a limo, a camper van, or one of two different planes, but we're never the slightest bit concerned. Not only do we know that he will get everyone to safety, but also that he'll get there in a manner that doesn't have to acknowledge the laws of physics.

Maybe a computer was also used to translate the screenplay, written by a German and an Austrian, into something akin to English. Why else would there be news reports of "this deadly car explosion", and "millions of distraught masses"?

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in