Release: Friday, May 29, 2015

[Theater]

Written by: Carlton Cuse

Directed by: Brad Peyton

San Andreas turns a massive crack in the earth into the Ultron of natural disaster villains, and Dwayne Johnson seems to be the only man fit to star opposite in this chunk of supposed summer entertainment.

The former wrestler fits in well with his surroundings as rescue helicopter pilot Ray Gaines, although it’s anyone’s guess as to how the guy actually fits inside a chopper. In a tense opening sequence involving a girl and her car stuck between a couple of rocks and a hard place, we are privy to Ray’s death-defying abilities. (Those will come in handy later.) A respected member of the L.A. Fire Department, Ray is of course no model human. An impending divorce from wife Emma (Carla Gugino) is putting pressure on him as he wants his daughter Blake (Alexandra Daddario) to remain in his life as much as possible. Both relationships remain fraught with tension since the loss of a fourth family member in a drowning incident some years ago.

While the strategy is far from original, getting us to invest in this particular family’s affairs works because Johnson and Gugino exude charisma as a couple on the brink of divorce. Strange as that sounds, the pair are suitably cast and make ridiculously cheesy character development somehow watchable. Or at least tolerable. For the world — make that the western American seaboard . . . er, no, strike that: the California coastline as far as Ray and his family are concerned — is about to fall apart in more ways than one.

Lawrence (Paul Giamatti) is a scientist (you know this because of his permanent frown and a hairline that suggests his scalp and Rogaine have never met) at Caltech who is on the brink of discovering more accurate ways of predicting seismic activity. Unfortunately he isn’t too good at predicting that which strikes the Hoover Dam and claims the life of a long-time colleague. “Uhh, yeah — that fault line wasn’t supposed to be there. That was . . . my bad.” Or so says his furrowed brow in the ensuing scene, a retreat back to the university, when a local news crew inundate him with questions about any progress he might be making. Oh, such poor timing.

The incident at the dam is merely a precursor to a series of escalating, catastrophic earthquakes that come to define the plot, the characters, essentially the film’s score, ultimately any lasting memories of what you’ve just seen upon leaving the theater. However long those memories last may well depend on the magnitude of the ‘quake. The best way I know how to criticize San Andreas while sounding like I had a good time is that it is far too eager to get to these big CGI set pieces.

Everything is rushed, the biggest victim being the characters. For an action/disaster flick in 2015 there need not be a poetic fascination with them but there should be more discovery than what we get. Peyton clearly favors pushing past all that icky stuff to the visual goodies. A tidal wave engulfs many a Californian landmark; buildings collapse as though they are built from Jenga pieces; fires scorch the afternoon sky at the tops of those remaining upright. We certainly get the sense that not even Giamatti’s math could save millions from the carnage.

But the concluding sequence all but confirms the only interest Peyton and his writers have in showcasing the power of Mother Nature — the raging, pissed off one living beneath our feet apparently — is parading this year’s minuscule improvement in special effects technology. This is a visual feast and nearly two hours’ worth of society falling apart implies that, while the world may collapse, CGI will be here to stay. Like cockroaches living long after nuclear fallout. CGI is rapidly becoming the main vein feeding the industry, the lifeblood of many a filmmaker with eyes larger than their intellect.

Even by disaster movie standards, the chaotic (but beautiful) computer graphics dominate, rendering any human-related drama as deep as a paper cut. While science can at least somewhat support Peyton’s vision of a California torn asunder by massively destructive earthquakes — it has been three centuries since the southern portion of the fault line has made its presence known, and seismologists do in fact predict it is overdue for some kind of rupture — what begins as hypothetical quickly devolves into laughable.

Recommendation: Yes, San Andreas is harmless and mindless summer escapism but this is a film that had greater potential. I could smell The Rock cooking up a more memorable performance than this as well, but he and his co-star Carla Gugino pull off a marriage in trouble convincingly enough. But given the rest of the cast, they are outliers. There’s not enough in this action spectacular to recommend to the casual viewer of these sorts of things; diehards, on the other hand. . . .

Rated: PG-13

Running Time: 114 mins.

Quoted: “The earth will literally crack and you will feel it on the East Coast.”

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