If a handbook of disaster movies 101 existed, San Andreas might answer a number of questions to the genre’s form like.
Why are there never any people that spill out of the buildings that get completely destroyed? They were warned this time by Paul Giamatti to get the hell out of Dodge.
Why is it always the daughter that steps up to be the hero and not the son? Boys don’t look as good in wet t-shirts.
Why is it almost always California that gets destroyed in disaster films? It’s halfway there already.
What would it be like to hang ten on a giant tsunami? Good in a small emergency craft, not so good in a giant container ship.
What would San Francisco look like as a themed water park? Don’t forget your floaties.
Are epic natural disasters good for the traditional family unit? Yes as a matter of fact they are.
In the world of film making, the answers don’t come quite so easily.
Why can’t any scriptwriter come up with the goods to highlight all that is good in the world of The Rock including his innate sense of humour?
How many more big budget films will get made where the action far outweighs the actors?
How in the world does a string of such banal clichés pass as a screenplay in Hollywood these days?
How wild would the investor’s parties have to be to help raise the kind of funding needed to get projects like this off the ground?
Would they be as wild as the parties that happen during the screening of the dailies?