Review: San Andreas

Score: B-
Director: Brad Peyton
Cast: Dwayne Johnson, Carla Gugino, Alexandra Daddario, Ioan Gruffudd
Running Time: 114 Minutes
Rated: PG-13

While I never expected amazing things from Brad Peyton’s San Andreas, I’d be lying if I didn’t say that I wasn’t at least semi-excited for the cliché disaster summer blockbuster. And while the film is far from perfect (or mediocre for that matter), Dwayne Johnson proves that when it comes to relentless action, he has this one in the bag.

Centered around the San Andreas Fault, a fault that runs through California and, according to the science in the film, is almost half a century overdue, the film works hard to mix action, adrenaline, family and romance. And while the film is no Titanic, the title sequence featuring a heart shaped necklace floating in the sea is an obvious nod that begs for comparison.

Putting aside the film’s Oscar potential come next February, audiences will find it hard to ignore the impressive special effects that take center stage merely seconds after the film begins. Sure the one-liners are campy and a few make out scenes highly inappropriate and out of place, but those who seek out this disaster of a film aren’t looking for solid character development and air tight science. Instead, they merely want to be entertained.

Witnessing the destruction of both Los Angeles and San Francisco is highly impressive. Seeing an earthquake hit and ignite a tsunami will keep you on the edge of your seats. Who cares if the two leads continue to flirt with death and survive as they overcome the odds and work to track down their only remaining offspring. And who cares if their journey involves a mountain of luck and a romance that all too often takes center stage. That is what comes with the price of admission - brainless fun!

Dwayne Johnson is perfectly cast (opposite regular co-star Carla Gugino) as a recently single father who hasn’t forgiven himself for his daughter’s drowning death years before. His macho approach to the role is as expected, and his work as a leading member of Los Angeles’s Fire and Rescue makes perfect sense when you learn of his past. But lets be honest, is there anyone you’d rather have protecting you during times of trouble than Johnson? Didn’t think so.

The true highlight of the film comes in the form of Paul Giamatti. Though his scenes don’t get nearly the attention they deserve, his work as a Caltech professor is both engaging and interesting. Sadly the science is a bit off; though his performance does make you wonder just how dramatic of a film San Andreas could have been had the story centered around his ambition to create an early warning system for earthquakes. (Think Twister without the flying cows.)

All in all San Andreas offers a bit of everything, without giving too much. The special effects are the true selling point (in addition to Johnson’s unwavering testosterone) and the rest of the film fits nicely around it. It isn’t anything special, but it does check off the boxes required for a fun, exciting summer blockbuster. And while it won’t appeal to the cinema snobs, movie fans will find themselves satisfied.

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About Kip Mooney

Kip Mooney
Like many film critics born during and after the 1980s, my hero is Roger Ebert. The man was already the best critic in the nation when he won the Pulitzer in 1975, but his indomitable spirit during and after his recent battle with cancer keeps me coming back to read not only his reviews but his insightful commentary on the everyday. But enough about a guy you know a lot about. I knew I was going to be a film critic—some would say a snob—in middle school, when I had to voraciously defend my position that The Royal Tenenbaums was only a million times better than Adam Sandler’s remake of Mr. Deeds. From then on, I would seek out Wes Anderson’s films and avoid Sandler’s like the plague. Still, I like to think of myself as a populist, and I’ll be just as likely to see the next superhero movie as the next Sundance sensation. The thing I most deplore in a movie is laziness. I’d much rather see movies with big ambitions try and fail than movies with no ambitions succeed at simply existing. I’m also a big advocate of fun-bad movies like The Room and most of Nicolas Cage’s work. In the past, I’ve written for The Dallas Morning News and the North Texas Daily, which I edited for a semester. I also contributed to Dallas-based Pegasus News, which in the circle of life, is now part of The Dallas Morning News, where I got my big break in 2007. Eventually, I’d love to write and talk about film full-time, but until that’s a viable career option, I work as an auditor for Wells Fargo. I hope to one day meet my hero, go to the Toronto International Film Festival, and compete on Jeopardy. Until then, I’m excited to share my love of film with you.

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