The Films Of Roland Emmerich: From Worst To Best. When it comes to bringing popcorn ready, big screen spectacle to the multiplex, there are few filmmakers (except for maybe Michael Bay) who do it with as much flair as Roland Emmerich. The German- born director has been making theater speakers rumble ever since “Universal Soldier,” but he really made his mark in the ’9. White House exploding “Independence Day” (which has a sequel coming in 2.

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Godzilla.” And since then, films like “The Day After Tomorrow” and “2. FX vehicles in which the world is at peril, but rescued by an everyman who saves the day. This weekend, Roland Emmerich lays waste once again to 1.

Pennsylvania Avenue with  “White House Down,” starring Channing Tatum as the unemployed, Secret Service wannabe, who is thrust into action to save the President (Jamie Foxx) when terrorists attack. And we thought it would be a good time to revisit Emmerich’s body of work – one in which nuance and thunderous overkill sit side by side, where vulgarity and the auteur’s touch are both very present. It’s also one that contains some interesting outliers such as the historical drama “The Patriot,” the prehistoric “1. BC” and the Shakespeare conspiracy theory “Anonymous.” So which of these blow shit up or just blow? Playing fast and loose with history, common sense and plausibility (even by the admittedly lax standards of Roland Emmerich movies), “1.

BC” throws everything into the mix – giant killer birds, the legend of Atlantis, an Aesop’s fable interlude with a saber- toothed tiger – and still comes across as being horribly dull and tedious. An epic mash- up of “Apocalypto” and “Clan of the Cave Bear” should have been a thrilling adventure especially under the direction of Emmerich who seems barely engaged enough to make sure to hair on the computer- generated wooly mammoth looks okay. This is what happens when you let your composer (Harald Kloser) co- author your script. Emmerich specializes in glossy trash, but glossy trash that is rarely this forgettable and bland. Given their efficiency with large- scale mayhem and destroying beloved landmarks, it seemed like a sure bet, and leading up to the summer of 1. Emmerich/Devlin “Godzilla.” (This was especially true thanks to the ingenious marketing campaign by Sony, one that didn’t reveal the creature at all, but instead had banners on buses that said “His foot is this big.”) After some intriguing early scenes documenting the monster’s destruction, the movie soon turns sour: the Emmerich/Devlin formula of a mismatched team (borrowed from Michael Crichton novels and old sci- fi movies) facing down an otherworldly menace feels worn; the computer- generated effects were still rudimentary at the time and far too widely utilized; and baffling decisions like having it rain for the entire movie and indulging in a number of mean- spirited jabs at critics Gene Siskel and Roger Ebert (notoriously unforgiving of the filmmaking pair), cloak the movie in an oppressively bleak atmosphere, one that doesn’t quite lend itself to fuck- yeah summer movie escapism.

There are some mildly enjoyable moments, like a sequence at the end, set in Madison Square Garden and borrowed from Steven Spielberg. The fan blowback was swift and decisive: the new monster was nicknamed GINO (for Godzilla In Name Only) and in Ryhei Kitamur. Cinderella (2015) Streaming. It starts in present- day England, and then goes back in time, further and further until we reach the end of the Elizabethan era, when the movie goes to great pains to suggest that Edward de Vere (Rhys Ifans), the 1. Earl of Oxford, who was forbidden to write (it would bring great shame to his family) but does so anyway, is the true scribe behind the works we attribute to William Shakespeare.

After some confusion, the villainous Shakespeare (Rafe Spall) takes credit for de Vere’s plays and (among other things) extorts de Vere to build the famous Globe Theater and kills Christopher Marlowe (Trystan Gravelle), after Marlowe discovers that Shakespeare is a fraud. The whole thing is ridiculous and silly, but not in the escapist sense of Emmerich’s better films. The question about whether or not Shakespeare authored all of this immortal works is a good one, even if the answer is somewhat anticlimactic, and a decent enough movie could be made out of the inquiry. But Emmerich’s more- is- more approach, which leaves subtlety behind and instead insists on a flashback- heavy Russian nesting doll of out- there conspiracy theories, isn’t the right one. Sure, there’s a whole lot of period spectacle to soak in and a touch of Greek tragedy, but since so little of it makes any sense, it’s very hard to ever really engage with the narrative. Soon enough, objects in his room start to levitate and a toy phone beams in an actual conversation from the dearly departed dad. But things start to get significantly weirder: the young boy develops telekinetic powers (it doesn’t go over well at school) and pretty soon a ventriloquist dummy in his room starts to tell him that it’s not his father he’s talking to, but rather the spirit of an evil magician (or something).

Pretty soon all sorts of demonic creatures and questionable optical effects show up, with Emmerich borrowing liberally from both “E. T.” (there’s even a moment where the kid is drinking milk from an E. T. When released stateside by B- movie titan Roger Corman.

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It doesn’t make a lick of sense, and all of the supernatural gobbledygook definitely slows things down. But as an early indicator of the director’s ability to conjure forth wide- eyed wonder, “Making Contact” is a delightful little romp, and at only 7. Large thematic concerns, about the nature of guerilla warfare, slavery, cultural identity and the dynamics of teamwork/family, are threaded throughout “The Patriot.” But mostly it’s a warmhearted, horrifically violent, incredibly kick- ass revenge movie, one whose Emmerich- approved earnestness affects you deeply (even while you’re rolling your eyes). It’s unequivocally the most beautiful- looking Emmerich movie ever (it was shot by the legendary Caleb Deschanel), with painterly compositions that will cause you to stare, mouth agape, at the sheer majesty of it. It’s also the most beautiful- sounding Emmerich movie, thanks to John Williams’ sweeping score.

In later movies, Emmerich seems to have lost his mojo when it comes to staging action sequences on the ground (ones that don’t involve massive flyovers of crumbling city- states). But here he’s totally in command of his craft, and each giant action set piece is brilliantly choreographed and easy to follow. Today, it’s worth re- watching for Ledger’s performance, which might not be as brilliant as his later work, but is just as commanding. There have been relatively few movies made about the American Revolutionary War, and it’s a miracle this one turned out as well as it did. In the Story of Emmerich, this is also an important movie, because it marks the last time Emmerich worked with Dean Devlin, his longtime co- writer/producer and general creative other half. Maybe it was because he thought that experiencing the devastation, this time in the relatively safe confines of a movie theater, would be a singular cathartic experience for a nation traumatized by large- scale violence that was far, far too real. Or maybe he thought that the movie, which was festooned with a heavy environmental message, spoke for itself: this is what could happen to us if we keep this thoughtless business up.

Either way, “The Day After Tomorrow” harkened back to Emmerich’s heyday and the great seventies disaster films of yore, this time concerning a global apocalypse that wasn’t natural but something that we created. Melting polar ice caps lead to a worldwide meltdown that brings about, of all things, a new ice age. Within this context, a scientist (Dennis Quaid) fights to reconnect with his son (Jake Gyllenhaal) amidst typhoons, tornadoes, devastating snowstorms, and (of course) wolves.

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