This time the film does not evoke Titanic, but rather the highly publicized engagement of Kim Kardashian and Kanye West, which took place on that exact spot two years ago. On a hunt to find their daughter amidst the mayhem, Ray and Emma parachute out of a plane and onto the pitcher's mound of the San Francisco Giants' stadium. The only nod to the emerging technologies that have shaped the country's new economy is a hacking scheme that is quickly introduced by a Caltech professor (played by Paul Giamatti, because why not?) and just as swiftly dropped.īut there is another moment where the film seems to lap up – instead of sneer at – the glitz and bombast of our contemporary moment.
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What makes Americans stand apart from the rest of the world has shifted drastically in the past decade. With this fixation on exceptionalism, San Andreas is at odds with itself and slightly anxious.
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Fortified only by a love of their daughter, Ray and Emma approach a series of record-breaking earthquakes and a tsunami as though surviving them is merely a test of their willpower. Instead, the film's cloying hashtag #WhoWillYouBeWith suggests how we face disaster is a matter of choice. (Completing Ray's family portrait is Carla Gugino as Emma, the ex-wife-turned-reunited-love-interest.)Īlthough there have been discussions around the film's marketing and release in light of the recent earthquake in Nepal, the crisis has had seemingly little effect on San Andreas's premiere. The hero is a blue-collar man who labours with his hands instead of in abstractions like "design," "brand" and "bitcoin." His prize is not venture capital, but the nuclear family. It is on this pedantic note that San Andreas chastises the arrogance of Silicon Valley's tech boom and San Francisco's skyrocketing real estate market. In short, innovative technology won't save you when the sky falls. Luddites will high-five here, while the rest of us may feel like the film is shaking a wrinkled finger at our dependence on iPhones.
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Ray's daughter Blake (Alexandra Daddario) shares his self-reliant streak and evacuation acumen – when the cell towers go out, it is Blake who knows what to do. The former wrestler plays Ray, a Los Angeles rescue helicopter pilot who, despite his lifelong career as a first responder, just wants to save his family when disaster strikes. This is especially odd as the film stars Dwayne "the Rock" Johnson, that walking, talking, impossibly charming mound of sinew and bone.
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Between its steroidic CGI and emotionally vacant plot line, the movie is all flex, no muscle. Yet while Peyton's film consistently lauds the hard work (and workers) that built America, San Andreas lacks backbone. The twist here is that the fault is even vaster than we thought, with an undiscovered segment lying beneath that concrete symbol of Great Depression era perseverance: the Hoover Dam. The title, of course, refers to the San Andreas fault line that runs about 1,300 kilometres long and whose seismic activity has kept Californians and their home-insurance rates on edge for decades. (There's even a rich jerk who pushes bystanders out of the way to ensure his own safety – though he's got nothing on Billy Zane.) Despite the visual cues that harken back to Cameron's box office spectacle, there is no doubt that with San Andreas we are in present-day California awaiting a warmer, calmer, watered-down catastrophe. James Cameron, is that you? No, it's Canadian director Brad Peyton, whose melodramatic San Andreas bizarrely pays brief but recurring homage to the 1997 disaster epic Titanic. The large propeller of a sinking ship rips around in the wind as the stern bobs in the cold ocean. An elderly couple clasps each other goodbye, not bothering to scramble for survival.
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A necklace with a heart-shaped pendant slowly sinks into deep blue water.