by Joe Hammerschmidt
2018 has proven to be the year of new breakthroughs in genre classification; just this past month we’ve discovered how video games and horror plots can be turned upside their head. The standard creature feature, that happens to be inspired by a video game, would be the least likeliest to maintain a more traditional approach to the genre-heavy popcorn film, yet it’s impossible to look past its simple, ironic charm running throughout. Rampage serves its respective category all too well, in large part due to dynamic relationship between niche-y action director Brad Peyton, and charismatic leading man Dwayne Johnson, once again back in his comfort zone. Collaborating for the third time, following the as-yet-unviewed Journey 2, and the disaster porn masterpiece San Andreas, the pair approach giant animal creatures and poor business ethics around the same boundary lines, albeit with some sacrifices made in story mechanics.
San Diego-based primatologist Davis Okoye (Johnson) often has his hands full with the gorilla enclosure, opting to trust them more than he would most humans. As he showers praise, and a little concern over star pupil George (played in mo-cap by Jason Liles), his coworkers never seem to understand. Of course, whatever camaraderie they share appears natural, nonetheless. PJ Byrne’s Nelson is our key example, once more flexing his character actor muscles. After a mysterious piece of asteroid debris lands sharply on zoo property, utilizing a prologue scene that almost doesn’t belong, it’s all hands on deck when George, along with a mysterious wolf dubbed “Ralph”, and an alligator-like creature all wind up infected with a mysterious pathogen known to increase their size, aggression and killing power. Discovering who’s responsible, however, is where the film winds up entering a brand new tangent of unexplainable confusion.
This film doesn’t quite suffer outright from the stench of stupidity, only its brash villainry. Brother and sister biochem mavens Claire and Brett (Malin Akerman and Jake Lacy, respectively) are the evil scientists dressed as common variety sitcom characters, responsible for the virus created below-radar by umbrella firm Energene. Eager to replicate the initial success, they’re quite unsure how to follow up on their first step when the feds are hot on their trail. The same can be said of their purpose in the plot, which is quite minimal save for a few punchy one-liners, and one very well-timed moment for Brett which needn’t be spoiled, yet when it appears at its destined moment, one may understand its pure moronic symbolism. No surprise, progress is slow between Davis and newfound friend, former Energene researcher Kate (Naomie Harris, in one of her strongest supporting roles), to connect all the dots while under retainer of reluctant federal babysitter Harvey (Jeffrey Dean Morgan).
Our trio face pure wits, and a plethora of shallow-drenched action points, but shockingly the whole creation still blends well like a potential every-fruit smoothie in director Peyton’s brushstrokes. He makes due and flourishes in a neat form working against the strengths and weaknesses of a four-person script, each lending something different to a rather inconsistent potpourri. Lost’s Carlton Cuse shares his penchant for sci-fi sci-fi, The Commuter’s Ryan Engle a tense backbone, Colony creator Ryan Condal a touch of climactic clarity, and multi-faceted comedy writer Adam Sztykiel (Due Date) the fulfillment of jokes, and reserved slapstick that can’t precisely match what level of intensity is presented on screen, serving more as distraction from the core relationship between human and primate.
Dead ends aside, George and Davis’s bond through the whole journey, all the way up through the long-padded third-act climax, occupies a warm breath of fresh air versus the common cliches. Alone, Johnson is as strong as ever, running circles around his peers when combining sap with th serious, but his interaction with mo-cap performer Liles, last seen in Death Note, helps to open up the superstar a little more into “compassionate tenderfoot” mode, amping up the emotion on a still-reserved scale. Just like in Jumanji, where he assisted Kevin Hart in reeling in the comedian’s intensity, so does the reverse occur here.
With Rampage, one will find an easygoing adventure story that doesn’t take itself too seriously, the venerable realization of a true popcorn movie, in that maybe it is very wise to purchase a bag or two to keep one’s attention in sharp focus. Multiple non-sequiturs will otherwise play out like lousy NPCs during gameplay, unwilling to understand why they exist. Those errors fall within just an imbalanced script, only increasing Peyton’s responsibility to the status of name-recognized director. Perhaps, after another pair of projects, he will reach that pinnacle. Most of the Rock’s dedicated fans will enjoy it most, fans of the original game and most newcomers may be split down the middle. It’s a loose adaptation, and the sheer silliness may not sit so easy at first. However, a little bit of good-natured chaos wouldn’t hurt when one can turn off the brain; best to just embrace it, and settle in for a reckless adventure. It means well, just not like one would expect. For once, that may be a better idea than your average actioner. (B-)
Rampage is in most area theaters this weekend; rated PG-13 for sequences of violence, action and destruction, brief language, and crude gestures; 107 minutes.
