Why San Andreas and Rampage are good Dwayne Johnson action movies

It’s hard to say which of Dwayne Johnson’s films is the “biggest” – and what that means is definitely personal to a man with a body of his own – but after battling GM animals and an earthquake that hit most of the West, Coast, San Andreas and Rampage are sure to come first. In fact, these two Warner Bros movies offer a complete experience for action hero Dwayne Johnson, especially as a single star, unlike nearly any of his other films, driven by his unparalleled charm, physical posit, and weaknesses that give heroism proportions.

It is easy to recreate these two films. As part of the largest Movies Anywhere movies. Show. Absolutely. For one week only (April 6 – April 12), you can purchase from thousands of movies and choose an eligible bonus *. So if you purchase Rampage, you can choose San Andreas as an extra movie.

San Andreas was the second time Johnson had worked with director Brad Peyton (Flight 2: The Mysterious Island), and the duo made their step with this adventure about a helicopter pilot who sets out on a mission to save his wife and daughter after he reached a strength of 9.1. Earthquake devastates Los Angeles and San Francisco. Filmmakers have predicted “The Big One” for decades, but Peyton’s technical pedigree gives a powerful and palpable range of devastation, while Johnson embodies a man of skill and determination to resist the possibility of devastating loss. Johnson plays Ray Gaines, making us immediately understand why he gave up his position to save his estranged daughter and wife, then makes us believe that he can only accomplish a series of death-defying chores while traveling by helicopter, truck, plane and finally boat before the unimaginable ordeal ends. .

Image via Warner Bros.

It definitely helps that he works with two of the actors he’s been working with, and he’s going to work with him again multiple times: Carla Gugino (faster) as his wife Emma, ​​and Alexandra Daddario as his daughter Blake. Johnson and Gugino share an easy and familiar chemistry that makes you think they were together, and they share a connection even if the terms aren’t as good as before; And Daddario has enough natural toughness and common sense to be close to his ruthless actions. But events unfold like a steady buffet: Johnson helps carry out a dangerous air rescue operation in a ravine; Emma recovered from the top of a skyscraper as she literally collapses; In the end they crashed, but he stole a truck they were replacing for an airplane. They parachute from the plane while the largest earthquake on record strikes; Finally, he leads a boat racing over the top of the tsunami in order to sail it to a building and save Blake. If you weren’t totally fatigued by the end, you should be.

By the time Johnson and Peyton got together for Rampage, they not only had their past successes under their belts, but quite a few others as well, which encouraged them to adapt the Midway arcade around three mutant animals – two of which weren’t to be confused with Kong, Godzilla – who are wreaking havoc in Chicago. Much like in San Andreas, Johnson plays what you might call “every exceptional man” – a man with an incredibly specific set of skills who is happy with his day job until he is called into service for a higher purpose. In this case, Johnson plays Davis Okoye, a primate and former US Special Forces soldier who communicates via sign language with a rescued albino gorilla named George until the animal is exposed to pathogens that increase its size and increases its anger by about a hundredfold.

Johnson’s sense of humor is fully featured in early scenes as well as his steady hand as an on-screen star; By working opposite a CGI animal alongside his fellow humans, he strikes the right notes about strength and power, especially when the danger posed by George forces the army to think – well, try – to detain and euthanize him. Perhaps without enough aerial sequences to his credit at that point, Johnson appears largely in a central sequence as George goes rampaging while on a plane, destroying the plane and endangering his and his comrades’ lives; It does a great showcase of Johnson’s physique, this time by making him look literally young versus a CGI monster and making him the underdog, so to speak. Johnson is, as always, larger than life, but he knows how best to use vulnerability to his advantage, especially regarding Davis’ sincere interest in George’s well-being.

Image via Warner Bros.

For CGI animals, Peyton gives them plenty of opportunity to wreak havoc, with some of the widespread havoc brilliantly rendered – which must be noted, brutally violent for the movie PG-13. In fact, the only place Beaton really stumbles is by reducing references to the game the movie is based on; But then again, that same game was kind of a Frankenstein blend of old school monster movies, which made leaving this adaptation seem like kind of a full circle nod to freeing her thoughts from a derivative foundation. Otherwise, the chaos build-up of the monsters puts Johnson in the bird’s seat while George wins against a mutated wolf, Ralph, and a crocodile, Lizzie, who develop some unusual abilities that make the movement more complex. (As if reversing the order of some of the best tunes from San Andreas, Johnson crashes with a helicopter after parachuting from a plane, but the filmmaking flaunts and Johnson’s reliable presence makes them look new again.)

However, what ultimately makes these two movies a delicious double feature – and Dwayne Johnson’s all-out action hero experience – is the way in which he emerges as a pioneering old-school man and then creates a larger-than-life scenario that dwarfs him in comparison. He’s still the hero we love to watch, but we have to watch him start from a disadvantage, a situation that “brings him back to normal” after decades of being the biggest character and personality on screen. And even if the audience doesn’t completely shy away from San Andreas and Rampage thinking they can accomplish all these colossal heroic feats, the filming and performance of these films not only convince us that Johnson can, it also makes us happy to be there. So we don’t have to.

Enjoy these exceptional movies at home, but act fast, like the ‘Anywhere’ bigger movies. Show. Start.’ Ends April 12.

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About the author Todd Gilchrist (17 articles published)

Todd Gilchrist is a Los Angeles-based film critic and entertainment journalist with more than 20 years experience with dozens of print and online outlets, including Variety, The Hollywood Reporter, Birth.Movies.Death and Nerdist. Obsessed soundtrack collector, sneakerhead and a member of the Los Angeles Film Critics Association, Todd currently lives in Silverlake, California with his gorgeous wife Julie, two Beatrix cats, Biscuit, and several thousand books, vinyl and Blu-ray recordings.

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