Last weekend the world as we know it ended to thunderous applause as Roland Emmerich’s 2012 decimated the competition, proving once and for all that there are few sights movie-goers desire to witness more than the complete and utter annihilation of mankind’s proudest architectural achievements. (“Take that Sistine Chapel!” “Up yours Washington Monument!” “See you in Hell Eiffel Tower!!!”) And, for the most part, I shared their cackling, borderline-sadistic glee, as who doesn’t love a good fromage-scented Disaster Movie epic, replete with cartoonishly broad stereotypes, vividly rendered, huge-scale destruction, sudsy soap opera storytelling and ludicrous manufactured peril?
The answer appears to be precious few, considering that 2012 opened with a colossal bang, accumulating an impressive $65-million domestically and even more impressive $120 million in foreign ticket sales, practically paying off the flick’s considerable price-tag in a mere three days. Not too shabby, especially considering that it’s the latest work from a notoriously inconsistent director still valiantly attempting to fight his way back to the level of glory and power he held in his pre-Godzilla hey-day...
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