disaster movies

4 posts

Just Blow It All Up

2012 (Roland Emmerich, 2009)

In his book Ecology of Fear: Los Angeles and the Imagination of Disaster, Mike Davis notes the particular enthusiasm in popular culture for destroying Los Angeles, and categorises the different ways in which the city bites the dust. Nuclear weapons lead the way with 49 surveyed works. Earthquakes: 28 works. Invasion: 10. Monsters: 10. Pollution: 7. Gangs or terrorism: 6. Floods: 6. Plagues: 6… and so on. What nobody, so far, had seen fit to do was just tip Los Angeles over and throw it in the ocean.

Enter Roland Emmerich.

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First Monster Perspective

Cloverfield (Matt Reeves, 2008)

After all the viral marketing and secrecy, it turns out that there’s nothing that secret about Cloverfield. It’s exactly what it looked like in that original teaser trailer: basically, a giant monster terrorising New York, shot on a handycam by affluent yuppies who must run for their lives. The film is structured as an uninterrupted playback of the full contents of a memory card from a digital video camera; after a brief prelude, it starts with a party as these privileged young New Yorkers prepare to farewell their friend Rob with a surprise party. But then (as we saw in the teaser) there’s a blackout, and a distant explosion, and the head of the statue of liberty lands in their street. Cue running, and screaming, and a fair bit of stomping and biting.

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War Weary

War of the Worlds (Steven Spielberg, 2005)

It’s sort of amazing, really, that Steven Spielberg is still top of the Hollywood tree. Given the constant upping of the ante since his Jaws (along with Star Wars) basically invented the modern Hollywood blockbuster, you would think he might have fallen by the wayside. Yet with War of the Worlds he once again steps up to the plate and shows just why he continues to lead the pack of A-list directors. War of the Worlds is his take on familiar material: not only has H.G. Wells’ novel been filmed before (in a George Pal-produced 1953 version), but it was the source material for Orson Welles’ infamous radio broadcast that spooked America in 1938. And, of course, it was the unofficial jumping off point for Roland Emmerich’s Independence Day in 1996. It is a perfect choice of project for Spielberg, forming as it does a companion piece with his classic tale of benevolent aliens, Close Encounters of the Third Kind. If that film was kind of a sixties hangover, with its stirring finale of intergalactic peace, love, and harmony, then War of the Worlds is the grim, bitter and bleak counterpoint. It’s an extremely well made and effective film, but a feel-good thrill ride it certainly is not.

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Titanic: The Wash-Up

Titanic (James Cameron), 1997

Eight months after it opened, it’s a little disorientating to remind myself that I actually did very much enjoy James Cameron’s epic Titanic. That’s because, somewhere in that time period, the unrelenting crudfest that has surrounded this film has made me hate the film and everything about it. I hate Leonardo DiCaprio. I hate James Horner. And surely I can’t be alone in wishing that Celine Dion’s heart would just stop?

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