
Journey 2: The Mysterious Island's Brad Peyton steps into disaster movie territory with this 3D film surrounding an earthquake that hits the West Coast. Carlton Cuse provides the script. ~ Jeremy Wheeler, Rovi
About San Andreas
Artist : Alexandra Daddario, Dwayne Johnson, Carla Gugino, Colton Haynes, Ioan Gruffudd, Archie Panjabi, Paul Giamatti, Kylie Minogue, Vanessa Ross, Matt Gerald, Will Yun Lee, Art Parkinson, Jackie Dallas, Hugo Johnstone-Burt, Janell IslasAs : Blake, Ray, Emma, Joby, Daniel Reddick, Serena, Beth Riddick, Disaster Resident, Harrison, Dr Kim Park, Ollie, Earthquake Survivor, Ben, EMT Responder
Title : San Andreas Regarder Film
Release date : 2015-05-29
Movie Code : 2126355
Duration : 123
Category : Action
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The cringeworthy dialogue and unmoving earnestness are the biggest disasters in this mostly forgettable action flick

It's hard not to shrug, stifle a yawn and reach for the popcorn when the Golden Gate Bridge once again buckles and sways and drops vehicles into the bay.

I enjoyed large chunks of San Andreas, largely because the actors give it a full load of sincerity, and there's some bizarrely effective comic relief thanks to Hugo Johnstone-Burt and Art Parkinson as Brits who picked the wrong week to visit the Bay Area.

An action hero with a rare kind of gravitas, Johnson has a stabilizing influence on all the silliness that surrounds him.

It's like Planes, Trains & Automobiles, only with a catastrophic body count.

It's all big, distant, unfathomable wreckage - shattering skyscrapers and rippling cityscapes - with no sense of the human cost

Some movies are easy to mock, but hard to resist. This is one of them.

California crumbles spectacularly in an action movie that quickly degenerates from blissfully stupid to fatally stupid.

The dialogue is inappropriately jocular throughout, which undercuts the genuine terror it attempts to muster.

Hell, I'm as up as the next guy for a dumb summer epic with special effects that fire up audiences. But did San Andreas have to be such a monument to stupidity?

Campy but never campy enough and far too numbingly artificial to ever drum up any real suspense or sense of awe, the film has a scale that's squandered on visual witlessness.

"San Andreas" is an action film that hits viewers over the head. Again and again. But isn't that exactly why you'd want to go see it?

Together with cinematographer Steve Yedlin and VFX supervisor Colin Strause, director Brad Peyton achieves a persuasive blending of practical shots and superior CG techniques for the most complex sequences.

The special effects aren't bad for a lower-budget ($100 million) blockbuster, though director Brad Peyton and his writers often deploy them in downright laughable ways.

The CGI effects in this film, directed by Brad Peyton, are quite remarkable and help take one's mind off the cornball disaster-brings-families-together underpinnings.

As patently preposterous, scientifically dubious, and unapologetically corny as director Brad Peyton's orgy of CGI devastation is, its popcorn prophecy of the inevitable is a blast of giddy, disposable fun.

For all the unabashed cliches and straight-faced silliness delivered by Johnson, Paul Giamatti, and their generally capable castmates, they're doing something right.

Quite literally the blockbuster of the year.

As for the story line, there are faults and cracks aplenty. But "San Andreas" does know where its epicenter must be: overdone, loud, anything-but-realistic and enthusiastic destruction sequences.

Considered as pure spectacle, "San Andreas" is gripping and effective, as well as a somewhat interesting form of counter-narrative: A vision of near-term apocalypse that has nothing to do with climate change, monsters or alien invaders.

The earth of San Andreas cleaves itself open to us like the devil's sunroof. Who are we not to leap into the void?

In San Andreas, The Big One finally hits California, and not even Dwayne Johnson's mutant biceps can keep those infamous tectonic plates from separating.

"San Andreas" is a disaster - literally.

"San Andreas" changes all too quickly from satisfyingly foolish to dismayingly dumb to genuinely stupid.

There are things in San Andreas that no one would have dreamed of seeing 40 years ago, when Earthquake (with its tacky, plaster-cracking "Sensurround") represented the state of the art. But nothing means anything.

The movie nicely delivers the computer-generated goods - the destruction of the Golden Gate Bridge is pretty spectacular - and if Johnson doesn't quite make it sing, at least it growls suspensefully.

San Andreas lacks backbone. Between its steroidic CGI and emotionally vacant plot line, the movie is all flex, no muscle.

"San Andreas" never pretends to be any less subtle than the Rock's physique. It's a hulking mass of wanton destruction, and a stupid-fun carnival of carnage.

When you think about it, is there anybody else you'd want looking out for you in times of trouble than Johnson?

Thankfully, the action set pieces are exciting enough, and come at such a successive clip - "Oh, s-t" may be the film's most repeated line of dialogue - that it's only afterward that you have the chance to pause and ask questions about the plot.

Top-notch effects and a bottom-scraping script make this disaster flick a spectacular bore.

Hahahaha. Really, that's about all there is to say about "San Andreas" .

When the earth is roiling and rippling like an angry ocean, it's an impressive sight. It's when the shaking stops though that San Andreas is a different type of disaster.

The allure of San Andreas rests entirely on the calibre of its pandemonium, savored, ideally, with a brawling audience on a Friday night.

Paul Giamatti is perfectly cast as the rumpled scientist and his scenes are by far the most interesting. It causes one to wonder if San Andreas might have worked better if the entire film had focused on his character.

It's hard to appreciate San Andreas as much more than a series of special effects vistas: impeccably detailed, completely plastic.

Helo-flown and hella-dumb, the movie delivers what its ads promise and not a particle more: Semi-convincing digital erasure of infrastructure.

My resistance to summer blockbusters crumbled like a collapsing skyscraper in the face of this big, loud, exuberantly destructive movie.
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