2012

2012 is founded in the Mayan prophecy, which has been so significant to so many cultures, so many religions, scientists, and governments. This is an adventure about a global cataclysm that brings an end to the world and tells of the struggle of the survivors.(Gary Reber)

Special features on Disc One include commentary with Writer/Director Roland Emmerich and Co-Writer Harald Kloser; Picture-In-Picture: Roland's Vision, which includes pre-visualization, storyboards, and behind-the-scenes footage and interviews with filmmakers and cast and crew; an alternate ending (HD 03:39); up-front previews; movieIQ; and BD-Live functionality. Disc Two includes the interactive Mayan Calendar; five featurettes: Mysteries Of The Mayan Calendar (HD 03:53), Designing The End Of The World (HD 26:03), Roland Emmerich: Master Of the Modern Epic (HD 09:31), Science Behind The Destruction (HD 13:19), and The End Of the World: The Actor's Perspective (HD 07:34); five deleted scenes (HD 04:55); Countdown To The Future (HD 22:03); the "Time For Miracles" music video by Adam Lambert (HD 04:19); Making "Time For Miracles" (HD 02:43); and previews. Disc Three is a digital copy of the film.

The 2.40:1 1080p AVC picture is superb, with an excellent dimensional quality, due no doubt, to the rich and deep blacks and revealing shadow delineation rendered. Numerous scenes are dark and should be viewed in a darkened room, preferably a black room, to optimize contrast ratio. Such dark films really challenge display technologies, but when executed well, the visual depth and image quality can be stunning. The picture was photographed with the Panavision Genesis HD Camera and Panavision Super 35 film cameras. The picture is very cinematic. The color palette comprises natural hues that are rich and warm. Fleshtones appear natural as well. The overall feel is weighty, with both full saturation and black levels interplaying throughout. While, at times, the imagery appears edgy and a bit plugged up, the resolution is excellent, both in above and below ground scenes. The disaster scenes depicting widespread devastation are intricately rendered and exhibit, in detail, collapsing earth and structures and the associated debris. The imagery is quite dramatic and frightening in that the sense of realism is impressive. Depicted are magnetic reversals, tsunamis, earthquakes, and volcanos. The picture perfectly resolves fine textures, especially during close-ups of facial features and object textures. But even distant backgrounds are nicely resolved, to reveal crumbling structures, roadways, and bridges, and people and vehicles caught up in the upheaval. Most impressive is the sense of realism conveyed in the cinematography. This is an exciting, adrenaline-intense picture that is sweeping in its portrayal of a seemingly real perspective of a global cataclysm that brings the end of the world. This is a picture that is sure to impress. (Gary Reber)

The DTS-HD Master Audio™ 5.1-channel soundtrack is breathtaking! The dynamic impact is tremendous, with deep, powerful bass in all channels, especially evident in the .1 LFE channel, with extension to below 25 Hz. SPL is often at full throttle, maximizing our Dorough professional meter bridge. The levels can be system-threatening. Low-frequency response is particularly aggressive. Holosonic® surround envelopment is wonderful, putting you into the midst of catastrophic disaster unfolding all around you. This would be a tremendous 3-D experience when coupled to this soundtrack that sonically defines so well the image space portrayed on-screen. The entire soundfield is excited aggressively and directionally. Foley, atmospheric, and sound effects are recorded well at both extremes, from loud to soft, with subtle low-level sounds clearly heard and perceived, which enhances the sense of space and realism. Sound effects, such a helicopters, airplanes, and flying debris are panned throughout the soundfield, providing a powerful sense of realism. You are put into every scene, from massive-scale distress and turmoil to the most subtle and intimate settings, which is what surround sound should be all about. The music score drives the action with a sweeping wide and deep soundstage that wraps aggressively into the surrounds. Dialogue is the only weak element, with obvious ADR at times not fully connecting spatially with the on-screen perspectives. Still, generally, spatial integration, when not sounding forward, is pretty good. When taken as a whole, all the sound elements effectively contribute to a sense that the world is dying with the collapse of the built environment. This is one soundtrack that delivers a holosonic surround sound experience that is exceptionally immersive and captivating. Be prepared to be stunned by the sonic impact and realism. (Gary Reber)