There are several things that director Roland Emmerich (Independence Day, The Day After Tomorrow) doesn’t seem too concerned about in the bloated, CGI-laden disaster movie 2012. These include, but are not limited to:  plot, character development, plausibility, restraint, and subtlety. I kind of understand why he chooses to ignore these elements. If you get bogged down with all these pesky details, how are you supposed to focus on THE SPECTACLE?

THE SPECTACLE is the star of this film, and clearly every resource available was used to ensure that this movie looks good, everything else be damned. 2012 is a full 2 1/2 hour visual assault of CGI, destruction, chase scenes, and every natural disaster a geophysicist could possibly imagine. It’s chalk full of action movie clichés, right down to the brooding and estranged ex-husband who happens to be near his old family when disaster strikes, and must lead them to safety. Not only is the movie wholly unoriginal, but it actually feels like Emmerich just cherry-picked his favorite scenes from action movies he likes, and found a way to throw them all into a threadbare story.

This is director indulgence gone too far. The movie is an hour too long, and a few key scenes would have had far more impact if there were not an action scene thrown in every 3-4 minutes. It’s as though Emmerich is saying to the audience: “You are going to sit there in your seat, and you are going to watch the crap out of this movie.”

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About a week ago a colleague of mine asked why in the world I wanted to go see The Box. I explained that I found the premise fascinating. What if you were told that if you pushed a certain button, you would get a million dollars, but there is a catch. When you push the button, somebody you do not know will die. What would you do?

Therein lies the premise of The Box. This is the third film by Richard Kelly, who garnered cult-like status with Donnie Darko (2001), then wide ridicule for his follow up Southland Tales (2006). Lots of movie types were looking toward this movie to determine whether Kelly is a gifted director, or a one hit wonder. I’m sorry to tell you after viewing this convoluted mess, it seems like a case of the director having no clothes. It’s one thing to be a little avant-garde  with your vision, another entirely to just throw weird crap in your movie and hope that it sticks.

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