If you find Roland Emmerich’s movies too slow and subtle, then San Andreas might be for you, a b-for-bloated B-movie in which no sequence of dialogue is allowed to go uninterrupted by the shaking of the Earth, as if the cast were being warned to keep all conversations brief and cut to the spectacle. With none of the calculated, faux-shitty incompetence of a Sharknado, and none of the self-deprecating humour or satirical mischief of a 2012, this is a genre film stripped down to the basics.
When an earthquake divorces San Francisco from the mainland and pummels it with an escalating series of aftershocks, tsunamis and plummeting house prices, San Andreas compiles a bunch of Fisher-Price symbolism and fortune-cookie plotting: from the start, you know that the estranged couple will be reunited, her smarmy executive new boyfriend will die a deserving, cowardly death, and The Rock will get to save his one surviving daughter and heal past wounds, because the biggest myth of the Hollywood disaster movie is that natural disasters, rather than randomly annihilating them, bring families together.
This pro-family message is just a pose. For the most part, San Andreas couldn’t give a fuck about any families other than the pretty one in its plot synopsis. We’re expected to cheer when Ioan Gruffudd gets his comeuppance, swatted by a container ship, ignoring the thousands of innocents standing alongside him on the Golden Gate Bridge as it takes the full force of the same preposterously large wave that The Rock surfs across in a commandeered boat, the latest in a string of vehicles he uses to fly over or zoom past the masses he might have been duty-bound to protect, seeking out instead his needle daughter in the Frisco haystack. This family of survivalists keeps all the best information to themselves and repeatedly ignore the plight of others around them. The resilience of the heroes is in inverse proportion to the frangibility of the background extras. The message to the earthquake dead in this film is that they didn’t try, fight, or drive hard enough. [That’s not entirely fair, because the signature image of this film is of men with injured girls in their arms, because some types of saving will always be more OK than others.]