Archive for the ‘Doomsday Movie Marathon’ Category

  • Review: 2012

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    Doomsday Movie Marathon

     

    Director: Roland Emmerich (Independence Day, Godzilla, The Day After Tomorrow, 10,000 B.C.)
    Writers: Roland Emmerich, Harald Kloser
    Producers: Roland Emmerich, Larry J. Franco, Harald Kloser
    Starring: John Cusack, Amanda Peet, Chiwetel Ejiofor, Thandie Newton, Oliver Platt, Thomas McCarthy, Woody Harrelson, Danny Glover
    MPAA Rating: PG-13
    Running time: 158 min.

    (2/5)

    Chaos and destruction has once again raised its ugly head in the world of Roland Emmerich; as it does every couple of years or so. Except this time there is no saving grace. There is no rocket ship to destroy an asteroid. There’s no computer virus that will snuff out the impending doom and there’s no brilliant scientist to selflessly push a button that will both make a martyr out of said scientist while simultaneously saving the planet by properly aligning the earth’s core rotation. What there is is a whole lot of wonderful effects of destruction, death and mayhem; interspersed with poorly paced melodrama, nick of time airplane escapes, overly convenient problem solves, paycheck acting, famous landmarks destroyed in seconds and of course a dog rescue.

    Due to a rare aligning of all the planets that only happens once every 640,000 years, unprecedented solar flares release neutrinos that heat the earth’s core to such a temperature that enormous volcanoes erupt across the globe and earthquakes so large that they can’t even be considered earthquakes. These ruptures rip apart continents and literally turn the world upside down as the magnetic poles spin around the planet before finally the south pole actually settles over what was previously Wisconsin.

    Through all of this chaos are the obligatory characters we’ve come to expect of nearly every disaster film (by Emmerich or otherwise). Jackson Curtis is a divorced father of two trying to regenerate his writing career while he watches a new husband take over his family. On a camping trip with the kids, Jackson stumbles upon a secret gov’t operation in Yellowstone National Park and a crazy, conspiracy theorist (Woody Harrelson) who was able to predict this disaster with accuracy and give Jackson all of the information he needs to possibly save his family. In an effort to remain succinct, there is also a good hearted American president, a brilliant scientist, the slimy advisor, a few potential love interests and a couple of other random civilians given to us for more dramatic impact – which lands mostly on your ass as you sit for an extra 45 minutes in the theater due to these characters.

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  • Review: Mad Max

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    Doomsday Movie Marathon
    Mad Max
    (4/5)

    [Chris Edwards, who writes extensively about silent films on his blog, Silent Volume, has written the following review of Mad Max, and will review the next two in the trilogy in the near future. To see the full programme click on the Doomsday header image above.]

    “A few years from now…’

    These words are powerful, so use them wisely, all you would-be directors of dystopian film. Put them onscreen right at the start, and buy yourself an hour of the audience’s good will. They’ll set aside their scepticism and give you a chance to make your future real. It is the future, after all—they’ve no more expertise about it than you.

    If you’ve got a GDP-sized budget, maybe your future looks like Minority Report (2002). That’s cool. And if you have no money, and a cast full of nobodies, like that Gibson fella who showed up for his audition hung over, well, then you can make the future look like a decaying wreck. It doesn’t hurt if you’re filming in rural Australia, which can be a real wasteland when you want it to. Put some bitching cars in there, too; they might boost your sales. You might even set a profit-to-cost record that’ll stand for 21 years. » Read the rest of the entry..

  • Review: Omega Man

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    Doomsday Movie Marathon
    Omega Man

    Honkies, spooks and eight-track tapes: Omega Man’s post-apocalyptic world is comically locked in the early seventies. Charlton Heston plays Dr Robert Neville, the seeming sole survivor of a virus outbreak who must contend with the infected, a vampire-like clan known as ‘the family’, while pursuing a last ditch effort to find a cure. The film is the second of three adaptations made of a sci-fi novella, wedged between Will Smith’s botched update I Am Legend and the 1964 original, Last Man on Earth, starring Vincent Price. Omega Man borrows heavily from the b-movie theatrics of Last Man on Earth, but while the Vincent Price vehicle appeared earnest in its attempt to convey horror, Omega Man is well aware of its campiness (at least I hope) and milks it with abandon. Those recently confused by M Night’s Shyamalan’s The Happening, need only look at Omega Man as a precedent for such a big industry released schlock-fest.

    It is easy to see why it took some thirty years for Warner Brothers to reboot this otherwise great concept franchise: Omega Man is cheap exploitation cinema that runs the gamut from silly biblical allegories to head-scratching blaxploitation caveats, and none of it has aged particularly well. It seems incredible that only a couple years separate this goofy Heston film and his more competent venture into sci-fi, Soylent Green. Like with The Happening, I have to believe Omega Man is entirely anachronistic, although some of the hit-you-over-the-head thematic points about science versus religion appear wincingly sincere at times, and maybe this makes apologists out of some for what is otherwise a shoddy mess of a film. » Read the rest of the entry..

  • The Doomsday Movie Marathon

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    Emergency Broadcast

    Hemorrhaging Financial Markets
    Rapidly Depleting Natural Resources
    Threat of Pandemic Disease
    Polar Ice Caps Melting
    An Apocalyptic Mayan Prophecy

    And thats BEFORE we even start our Doomsday Movie Marathon. For the next couple months Row Three will be ground zero for discussion on movies that embrace the paranoid and prophetic anxieties of doomsday scenarios. Such scenarios both fantastical and plausible offer us a glimpse into how, when stripped of our modern conveniences, we might fair, let alone survive, with only our wits to provide. Somewhere between Kevin Costner (a whopping 4 appearances in this batch) and Steve Guttenberg (The Day After), the truth doth lie.

    Some effort has been made to arrange this programme from as wide a variety of genres and time periods as possible while still staying true to this basic theme. More often than not, films were chosen not for pedigree so much as for for their potential as conversation-starters, films on the fringe of the familiar, or worthy of a second look. Brought together here is quite a mix of films including 90′s throwbacks to natural disasters, post-apocalyptic epics, some schlock science fiction, a couple art house musings, a few too-close-to-home geopolitical scenarios and an alarming amount of 80′s hair.

    From now until the end of the year, contributing writers of Row Three will watch and review films that in one way or another evoke the doomsday ethos. Part of this is a lead up to Roland Emmerich’s deliciously absurd 2012 and John Hillcoat’s masterpiece, The Road, both of which will also be reviewed as part of the marathon.

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