Screenhead

There are times when you watch a movie that it feels like it was handled by somebody in particular.  Most George Romero or Steven Spielberg or even Michael Bay movies have that certain feel about them, and you can tell, even as you watch them, that this movie was handled by that person.

2012 feels EXACTLY like a Roland Emmerich movie because, let’s face it, we’ve all been here before.  It’s just gotten a LOT bigger since the last time.

This time, as it turns out, the Mayan calendar that’s gotten so much press over the last few months or so was exactly right and the end of the world as we know it starts up on December 21, 2012.  And for a writer and father, who’s been somewhat estranged from his family of late, the whole world will quite literally never be the same again.

If you saw The Day After Tomorrow, ironically, you’ll have about a thirty percent head start into 2012 because it’s almost the EXACT SAME MOVIE.  Both will feature scientists who catch on to things way ahead of the rest of the curve, but no one will believe them for a while until it’s almost too late, then there will be a whole lot of horrendous things happening that are far, far, more outlandish than anybody’s worst case scenarios.  Sprinkle in some bad science, top it off with some schmaltzy family drama, and boom!  You’ve got yet another half baked Roland Emmerich disaster movie that will probably make its shooting budget back if for no other reason that people LOVE to see stuff go boom.

Idiocracy fans, take note–at this rate Ass will be in theaters summer 2015.

Seriously though, this isn’t really a BAD movie.  It’s a bit overlong, sure, and don’t even try to find this movie’s science on a map because it just plain old DON’T EXIST, and don’t even get me started on Roland’s big middle finger to greedheads everywhere who think they can buy their way out of disaster.

But there is plenty going on here.  You’re almost certain to be entertained.  Even I was entertained.  There’s no long term value in a movie like this, but for a pleasant way to kill off two and a half hours with explosions and drama and a number of car jumps so large as to make Bo and Luke themselves have car envy (the first time I saw John Cusack JUMP A LIMO all I could think was “Well sir, right about then the Duke boys knew they was in a heap o’ trouble”.  Try it; it’s fun!), there’s not much better.  And by the way–it’s AWESOME that Woody Harrelson’s in this.  I’ve got a whole new respect for this man.

The Screenhead Ten Scale, meanwhile, shakes its head with a sardonic grin and hands this low-brow disaster epic a six out of ten for its sheer fun factor, even if its plot is a load of steaming garbage that’s about a third of a ripoff and its science so lousy even a fourth grader could knock it into a cocked hat.

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