After seeing him flex his broken arm to break off his cast in Furious 7, I’m really no longer sure what to make of Dwayne Johnson whenever I see him in a movie. It’s a bit like seeing a cartoon character like the Tasmanian Devil take the lead in The Day After Tomorrow.
Case in point, Johnson’s latest summer tentpole, San Andreas. Even the trailers were hard to take seriously. (And adding worse to wear, how the hell did Roland Emmerich NOT direct this movie?!) With special effects that look straight out of Adobe Photoshop, it’s difficult not to surmise that we were in some sort of strange holding pattern earlier this summer, just waiting for Jurassic World and Terminator Genisys. And Ant-Man. And in a car crash-kinda way, Fantastic Four.
The Big One hits California and everything falls apart. (Isn’t it odd how this summer movie season was pre-occupied with humanity’s extinction? Avengers? Mad Max? Tomorrowland? Not to mention that Terminator flick. The kids are gonna have nightmares about their mortality. Perhaps that’s the point? Make the world a better place while there’s still time? Man in the mirror?)
Dwayne Johnson plays a fire and rescue worker with one mission: to save his wife (Carla Gugino) and then his daughter (Alexandra Daddario). They all act properly panicked and anxiety ridden. Paul Giamatti is a scientist who predicts the giant earthquake and when he realizes how bad the devastation will be, someone asks him who they should call. The camera zooms in and with a straight face he says, “EVERYBODY!”
Yeah, it’s that kind of disaster flick. But the fault really isn’t in our stars for once. (Get it? San Andreas? Fault? Oh never mind.) Speaking of the fault itself, armchair scientists are going to have a field day spotting all the logistical inconsistencies and have the most fun doing it since Gravity. “Oh that couldn’t happen. Oh that couldn’t happen either!” Colton Haynes from Arrow, who was only in the first five minutes of this movie, showed up to the premiere in a completely pink suit. That happened. So really, who is to question what madness lies deep in the crevices of this production?
Surprisingly, for the mainland, there’s very little looting going on. Just one scene in a hick-ish town outside the urban proper. What’s really troubling is when an elderly couple on the side of the road with a broken axle yells at Johnson and Gugino to stop and pull over. They keep going and almost drive over a chasm. Only then do they turn back and offer their gratitude. But it works out for them because that elderly couple happens to own an aviation yard with one working plane.
Later the couple motor boat through the tsunami-ed waters of San Francisco. (I gave up counting when Johnson stole his third undamaged vehicle.) They see people drifting around in random boats and debris, but they keep going. In fact, the only time Johnson the professional rescue workers actually offers help is to yell a whole bunch of people to the safety of AT&T Park. But he probably only did that because wifey was gonna get smooshed by a falling building as well.
But one isn’t here to debate the morals of San Andreas. At least I hope not. That would result in a web article longer than what Chris Hemsworth is packing in the red band Vacation trailer.
Oddly, for once the 3-D here is surprisingly effective and present. Most often in simple scenes where actors are in both the foreground and the background, and especially during a canyon helicopter rescue that opens the movie. Oddly not so much when skyscrapers crumble, cable bridges twist and come undone, and helpless people get splatted by huge chunks of rubble. After Avengers (both of them), if you’ve seen one building crumble, you’ve seen them all crumble.
San Andreas made over $150 million dollars at the domestic box office. I feel like Paul Giamatti. Perhaps you will listen to my warnings and make the proper preparations to see Mad Max: Fury Road again. And who should you take with you? EVERYBODY!
San Andreas is now available to own on Blu-Ray, DVD, and digital download.