There are only two mainstream releases this week: the inevitable 2012 cash-in, 2012, and Pirate Radio. The former is from big-budget schlockmeister Roland Emmerich, who gave us such incredibly silly trash as The Day After Tomorrow (2004) and 10,000 B.C. (2008). That should tell you as much as you need to know about 2012—possibly more than you need to know.

I realize that this is a presumptuous question that supposes that the reader did fall in love with the movies in the first place. Still, I’m assuming for argument’s sake that such a condition probably has something to do with the reason you’re reading this column in the first place. The question in my mind is whether this was a cumulative thing for people or if there’s some outstanding defining moment that brought this about.