(Did I mention that Bay is straight?) Emmerich might be more likely to kill off nine-tenths of the world’s population, but Bay is less likely to make you feel like it would matter. If a typical Bay hero is earnestly concerned about anything, it’s probably Megan Fox’s midriff.
(Ironically, Emmerich is gay, Bay straight.)Ī typical Emmerich hero earnestly worries about things like the appropriateness of burning the works of Nietzsche for heat in a post-apocalyptic world.
With most of Bay’s movies, one might almost doubt whether the director is entirely aware that humans start small, or that sex has anything to do with procreation. Not incidentally, Emmerich features child characters in a number of his films, including 2012. Men and women in Emmerich’s movies are no less cartoony, but the women are wives, ex-wives and daughters, while the men struggle with doing right by them. In Bay’s movies, women are sex objects - pinups and playmates if not bimbos, strippers and/or prostitutes - while men are cocky, testosterone-charged studs or else wish they were, by gum. Bay likes his trash trashy, with generous dollops of gratuitous sleaze and exploitation. Emmerich seasons his schlock with schmaltz, with cornball speeches about decency, loyalty, family and humanity. Emmerich has a dimmer vision of the future than Bay his movies offer real apocalypses, while even Bay’s Armageddon is about an apocalypse averted.
#The bay 2012 full movie movie#
But Emmerich is not to be outdone: 2012 is his over-the-top, overwrought, over-long would-be apotheosis of every disaster movie and action flick ever made.īy this point in their careers, a few things are clear. Other films along the way include Bay’s Bad Boys II and Transformers and Emmerich’s Godzilla and 10,000 BC (draw parallels at your own risk).īay’s latest salvo is Transformers: Revenge of the Fallen, an over-the-top, overwrought, over-long, would-be apotheosis of every disaster movie and action flick ever made. After that, both Emmerich and Bay took stabs at dystopian near futures with The Day After Tomorrow and The Island, respectively. Two years later, Bay arguably upped the ante with the similarly overproduced planetary disaster–action spectacle Armageddon.Įmmerich’s next film was the Revolutionary War cartoon The Patriot, followed a year later by Bay’s WWII cartoon Pearl Harbor. In the mid-1990s, Emmerich threw down the gauntlet with the planetary disaster–action spectacle Independence Day, in its day a ranking contender for most the staggeringly overproduced B-movie to date.
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