Giving thanks for foxes, Ed Asner, and the fact we're not living in an Emmerich film

I've said it before, Roland Emmerich hates Earth.

If his filmography to date was not proof enough of this grudge, take a look at this still from his latest special effects showcase, 2012.

Yep, right there above the plane's wing, that cloud of smoke is giving us all the finger. As if the premise of the film weren't already a big-enough "F--- you" to the human race, he's actually flipping off the audience while they watch!

Ok, I need a palate cleanser.

Aww, those adorable scamps! I feel better already.

Now, I must confess that the blog will be taking a short hiatus. I promise it's not because we at Cinema Then and Now harbor an Emmerich-esque contempt for our audience. Rather, we are taking a holiday break and will return after the Thanksgiving weekend with classic film picks for December and other sure-to-be illuminating film commentary.

But, until then, here are some wonderful time-wasters!

Film clips from UP, one of my favorite films of 2009, courtesy of The New York Times, as well as trailers for 2012 and The Fantastic Mr. Fox. And if you haven't decided which film to see over the holiday weekend check out the NY Times Critic's Picks. Based soley on the photos above, I'm definitely planning a date with Mr. Fox and his friends.

Roland Emmerich's grudge against Earth and other cinematic disasters

Roland Emmerich is intent on destroying Earth one way or another - be it global warming, alien invasion, or Mayan prophecy. The latest bit of evidence in my case against Emmerich is the trailer for his new film, 2012. In this trailer you can see that while Emmerich hates planet Earth in general, he reserves a particular hatred toward international landmarks.

The mid 1990s resurgence of the disaster film feels like it has never completely gone away, with Roland Emmerich carrying the torch. Of course, I can't really blame him - as CGI keeps getting better, the potential destruction keeps getting more awesome! Just witness the special effects test reel that is the 2012 trailer. However, even with John Cusack attempting to protect a couple of adorable moppets, the film seems pretty soulless and for that reason I'm not really inclined to go see 2012.

If you look back on the disaster film heyday of the 1970s, it is obvious that the evolution of special effects has fundamentally changed the genre. Without the non-stop explosions/tidal waves/disinegration of the Earth's crust, these older films could seem a bit boring to the modern viewer. Large casts of name actors, who each get their own story line, are what drive the films forward rather than visual effects. These films also tend to focus on one major "disaster" and its build-up and/or aftermath, such as the fire in The Towering Inferno (1974) or the capsized ship in The Poseidon Adventure (1972), instead of showing one catastrophe after another.

However, I would definitely recommend checking out some of the classics of the genre. Earthquake (1974) has a definite kitsch appeal, if not just for the chance to see Charlton Heston growl his way across Los Angeles (I believe "GODDAMMIT!" is the opening line of the film.). And, if you've ever been on the Universal Studios tram tour, you have experienced the 8.5 quake depicted in the film - a jolt of such magnitude, not even Heston's renegade cop could stop it!

The Cassandra Crossing (1976) is an interesting, though not completely successful, entry into the genre. The main problem is that the focus switches midway through the film from the threat of a deadly disease to the threat of a train accident. However, I would say it is worth seeing for its odd international cast, including Richard Harris, Sophia Loren, Burt Lancaster, Ava Gardner, Martin Sheen, Alida Valli, and O.J. Simpson.

You can see the 2012 trailer here: http://www.sonypictures.com/movies/2012/

Slate.com did an entertaining slide show on disaster films throughout history and the preoccupation with destroying famous landmarks. It has some great video clips, including some impressive footage from the 1933 film Deluge.