Horribly pessimistic, the film ‘Twentytwelve’ carries the disaster picture to the pinnacle. The movie bases its idea on the Mayan Prophecy that the planet will come to an end on December 21, 2012. Emmerich organizes all the necessary rudiments including comprehensive narrative, dependable star cast and colossal sets to provide us with a rough, but agreeable trip.

When on a camping expedition in Yellowstone, Jackson (Cusack) chances upon a surreptitious military maneuver and a gibbering manic case (Harrelson) who declares that the end of the world is near. Needless to say, Adrian (Ejiofor), a high ranking government official reports to the President (Glover) about the measures taken for the imminent natural disasters. Chaos and bedlam has started when Jackson comes back to his home in Los Angeles and he only has just about time to get his children and his ex-wife out. But is there a place for them to go?

Los Angeles annihilation is among the most stunning and impressive effect ever staged in cinema. It is a gripping chase through the destruction you have ever come across, with a few lovable individuals frantically trying to cheat their destiny. Remember, it is only the start of the film and these people have to elude a massive volcano, take flight from a disintegrating desert, survive a mega tsunami and crash-land on ice cliff. All these happen because massive solar flares have caused temperature of the earth’s core to increase manifold.

Even though the film appears to be wholesome flight of imagination, the science seems to be abstractedly believable. Emmerich manages each and every frame to the ultimate chaos and keep us captivated with dazzling characterizations and amusing asides. There are naughty citations to all disaster films, actual disasters and pop-culture idols during the course of the film. Emmerich has taken things lightly in the film even when he gets demonstrative during parent-child interactions.

As convention demands in such classical disaster films, the cast is of high quality for such insanity. The meatiest parts are taken by Cusack and Ejiofor, while Peet and Newton gives firm female presence in action sequences. Platt is amusing as the indispensable bonehead of a politician. But, honestly, the true stars are the special effect experts, who have bested their own previous efforts with a smashingly pleasurable end of the world. Now, what can you expect in this genre?