Can’t help but wonder how another Johnson may have survived.
Los Angeles Fire Department rescue-helicopter pilot Ray Gaines (Dwayne Johnson) makes a living off of saving people’s lives. Not only is it his calling in life, but it’s what he loves to do. However, because of this love in his life, he’s sort of forgotten about other loves in his life that may mean a lot more, such as his daughter, Blake (Alexandra Daddario), and wife (Carla Gugino), who has now just handed Ray divorce papers, even while she’s spending time with new boyfriend, Daniel (Ioan Gruffudd). While this is all happening though, an a monstrous earthquake is forming right underneath everyone and throws all of California into an insane frenzy. While Ray has a job to do, his first and most important priority is finding his daughter and his wife, which he will try and complete using all of the smarts and skills that he has at his disposal. However, as local seismologist Lawrence (Paul Giamatti) soon figures out: There may not be enough time to save yourself.
Believe it or not, San Andreas was not directed by Roland Emmerich. And honestly, I’m so happy for that. It’s not because director Brad Peyton does such a stellar job that he should be praised for days-on-end, but it’s because Emmerich’s kind of disaster movies seem to get so tired, old, and repetitive, that by the time all of the destruction and mayhem is over, it hardly even matters. While the same situation could have easily happened with San Andreas, Peyton finds a smart way to keep that from happening, solely by just keeping all of the destruction and mayhem as fun, exciting and insane as possible, therefore, hardly ever allowing for it to lose its muster.
Something that, once again, Roland Emmerich wouldn’t be able to contain himself away from.
But that isn’t to say that Peyton gets away from this movie clean and free, without any problems to be found whatsoever, because that just isn’t the truth. In fact, there’s a lot about San Andreas that doesn’t feel right; like, for instance, the fact that one moment, we could be cheering because of a heroic action that a character just made, and then, moments later, see digital human beings be utterly destroyed by whatever carnage just so happened to find them. In a way, it’s almost like, rather than focusing on this one, small story, we should be focusing on the whole grand spectrum, and how basically each and every person in California is being wiped out beyond belief.
Also, there’s an odd feeling that even though we’re told and shown that Ray’s main job is to help save people from any sorts of disasters, we sort of see him abandon this job once all of the earthquakes begin. This is understandable, because obviously, family comes first, but what about the few ten or fifteen people you see along the way of finding your family that may or may not need some saving? Are they not good enough? Or significant? Or did the budget not allow for anymore actors to be hired?
Whatever the reason may have been, it’s a bit odd.
Then again, though, San Andreas is just another silly blockbuster, that also happens to be a disaster movie and doesn’t let up on that later element. And thankfully so, because this is actually what begins to save the fact that a lot of what happens is nutty, but it hardly ever becomes numbing. Though earthquakes occur quite often in the near-two hour time-limit, they never bummed me out. Part of that has to do with the fact that it took us away from more moments where the movie tried to make itself into a touching, heartfelt message movie about fathers, daughters, and marriage, but also, because Peyton find some new, impressive ways to make sure that all of the odds were stacked-up against our protagonists.
Does that mean they weren’t able to defeat them? No, but hey! It’s hard to care for all of that when you’re just having a good time.
And with Dwayne Johnson, how could you not? Honestly, if you weren’t already convinced that Johnson is one of the most unabashedly charming fellas on the face of the planet by now, check out San Andreas and come back to me. This doesn’t mean that Johnson himself is doing anything ground-breaking with his work here, but it’s hard to not break a smile on your face whenever he’s around. Sometimes, he says something witty and makes you laugh, other times, he’s actually showing that there’s something of a heart and soul underneath all of that muscle and testosterone.
But Johnson helps make a lot of this movie work because he at least adds some legitimacy and fun to what happens here. Whereas the movie could have easily been a boring, uneventful slug of one disaster sequence, after another, Johnson finds ways to pop up, remind you that he’s around, and that, no matter how much destruction occurs, he’s always around to save the day. Also, surprisingly, he and Carla Gugino share a solid chemistry together that works even when they’re fighting, or when they’re coming back together as a couple; something that made the movie a little bit more interesting.
Then, of course, there’s Paul Giamatti who, like Johnson, is just here to remind everybody that he’s able to make whatever he does, better just by showing up. Giamatti doesn’t have much to do here other than yell, warn people about upcoming Earthquakes, and hide underneath desks, but he does so well with it, that it never gets old. And despite playing a character nearly nine years younger than her own self, Alexandra Daddario does a solid job as Blake, showing that she isn’t the damsel in distress who always needs somebody to save her life; she can figure situations out and more often than not, outsmart those around her.
The perfect woman, basically.
Consensus: As silly as it may be, San Andreas is a lot like other disaster movies in that it doesn’t hold back on all of the insane destruction or mayhem, but also benefits from the always engaging presence of Dwayne Johnson.
6.5 / 10