Watching the movie, one can’t help but imagine all of the people who are horrifically dying on the ground under piles of destroyed building as an entirely self-interest-driven pilot flies his helicopter overhead ignoring their desperate cries for help. The presumed motivation for the plot is that most audience members can relate to a hero doing everything they can to save the people they love, trying to juice an emotional connection between movie-goers and the family man protagonist’s efforts - but that all goes out the window thanks to Ray’s profession. Once you select Rent you'll have 14 days to start watching the movie and 48 hours to finish it. The biggest embarrassment behind this major narrative issue in San Andreas is that it could have been fixed with one stray line of dialogue about Ray being forced to take some time off the job or being put in a position where he legitimately can’t help the rescue effort, but because the movie never bothers, it makes the whole film feel base level-manipulative and makes Ray look like an asshole. Unfortunately, this is actually the furthest thing from Ray’s mind when the San Andreas Fault rips open, as instead of going around and saving individuals in need, he shirks all of his legitimate responsibilities and orders in the name of saving his ex-wife (Carla Gugino) and capable daughter (Alexandra Daddario) – the latter being up in San Francisco and really surviving just fine on her own. Between his skills with a chopper and his incredible personal strength, he is the ideal hero to call into action when the biggest earthquake of all-time hits California, as his abilities and resources could be used to save another hundred people from perilous situations. In the movie, Dwayne Johnson stars as Ray Gaines, an elite LAFD rescue-helicopter pilot who has a long career of daring rescues, with more than 600 people saved. As the Earth cracks open and buildings start to crumble, Ray Gaines (Dwayne Johnson), an LAFD search-and-rescue helicopter pilot, must navigate the destruction from Los Angeles to San Francisco to bring his estranged wife (Carla Gugino) and their only daughter (Alexandra Daddario) to safety. There is some credit due to San Andreas for its portrayal of horrific geological events, which in turn create some legitimately suspenseful and clever moments, but it’s all driven by a narrative that’s so wrong that it poisons the entire film.
Given the feature’s categorization as part of the disaster movie genre, it’s true that most audiences won’t be seeking it out for its plot or character dynamics, instead simply hoping to see an earthquake nearly rip California off the western coast of America, but that doesn’t stop the feeling of something cold and wrong beneath the surface.
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