I honestly don’t know who missed which memo on the set of Rampage.
Whether or not director Brad Peyton and stay Dwayne “The Rock” Johnson missed the memo that a movie about dangerous animals turning giant by the abominable actions of science and turning a major metropolis into an utter ruin is not really a premise one needs to sacrifice an immense amount of entertainment and fun for. And mind you, this is hardly the first time they made this mistake or the worst perpetration of this tonal mishap. The stone-faced sobriety with which their previous collaboration San Andreas portrayed the devastating earthquakes The Rock was escaping makes Rampage look like Singin’ in the Rain. And yet you can get away with that sort of demeanor on the very real threat of a natural disaster. A gang of giants – ape, wolf, and crocodile – crushing a metropolis is inherently ridiculous. While it does well to give your film some sense of in-film logical grounding – which I assume is the reason this movie chose to have them actual animals who are exposed to a chemical rather than humans transformed into the animals as in the video game series it’s based on – it does not mean every character who isn’t played by Jeffrey Dean Morgan has to go unsmiling while the shit is hitting the fan. Plus, San Andreas has much more consistent and weighty visual effects than Rampage‘s frequently poorly composed animals and that leads to the second hypothetical memo.
Or if whoever was in charge of the major special effect in the film – the growing albino gorilla George (Jason Liles in mo-cap) whom Johnson’s primatologist character Davis Okoye cares for and raises – realized that he was bringing about an Adam Sandler character into a movie very certain on turning that character into something to fear for about 2/3 of its runtime. While the right idea is clearly in the makers’ mind, to both have some sense of levity and lean towards giving us a character that will hurt us to watch turn into a mindless monster, their execution is practically diving into Seth MacFarlane territory. With his constant usage of frat boy jokes to frequently undermine Rampage‘s sincerity (an extended usage of the middle finger, a finger-into-fist sign of inquiry), George would look right at home as the inarticulate best friend to Ted, if only Ted as a character wasn’t so well animated that he would make George look worse than he already does in direct juxtaposition. Either way, George and The Rock are clearly not starring in the same movie.
These are not good looking giant animals y’all, living on an entirely different plane from the rest of their environments and often interacting with humans as though there is either a sheet of glass separating them or their aim is just awful when it comes to snatching them into their jaws. This is certainly covered up a whole lot better in the dusty rubble of Chicago or the sunlight cutting forestations which is probably why George’s gigantic co-stars Ralph the Wolf and Lizzie the Croc (Ralph is named, Lizzie is not – these are names I got from the games) fare significantly better in my memory than any apes in the film. Lizzie in particular is the standout, proving that the animators almost certainly saw another giant reptile film and so had a handy basis on how to make the crocodile feel dense and make the earth rumble with each step it takes. She also only really has to exist in the third act while we follow George and Ralph’s travels to Chicago instead.
Whether or not you read whatever the unholy fuck is the barely rendered… I don’t know, I think it’s a rat with movements that are unconvincing even in the context of zero-g space. How you read opening Rampage with that would be up to you: it could either be the movie just getting its worst CGI out of the way or it could be an early indication that it’s not a movie that could effectively commit to its one job of providing BIG CONVINCING monsters for its popcorn movie. I think it’s both on top of earlier elaborating what was going to be the only elements that knew what kind of dumb matinee fare was this movie’s best case scenario: an occasional indulgence in camera movement to give a little more surrounding character to the chaotic scenarios (an imploding space station in this case, a crashing cargo plane later on, and the climactic destruction of Chicago), a composer in Andrew Lockington that’s only interested in finding the most peril-rich clichés in movie music to indulge in, and a supporting cast mostly qualified to treat this as scientifically as Deep Blue Sea – in this particular scene, introducing to us in voice-only antagonist Energyne CEO Claire Wyden (Malin Åkerman), who even without seeing her face can easily have temperature guessed into the below zeros.
When we do see her face, Åkerman along with Jake Lacy as Wyden’s impotent brother Brett make a punchy duo of recognizable corporate evil as Lacy gives nervy cartoon energy to Brett’s stupidity without a trace of inner logic beyond “I don’t wanna go to prison!”. Åkerman meanwhile is like what somebody’s impression of a fun Louise Fletcher character would be and her straight-faced ability to still sell on every pointedly evil thing she says and does makes it feel like the character only uses financial terms as replacement for “EVIIIIIIILLLL” spitting out of her lips as they watch and approve of their research landing on Earth and their work leading to devastated trails of carnage*.
And of course, in the meantime, Jeffrey Dean Morgan struts in as a government agent with the most unconvincing Texan drawl a man could put on, refusing to stand up even slightly straight, and treating the mid-film expositional dump he puts upon Okoye and Naomie Harris’ fired Energyne Dr. Kate Caldwell like the best chance to chew up all the possible scenery he can consume, making him a fellow valiant presence attempting to right up the ship sunk by Peyton’s sobriety to the material. Unfortunately, Morgan is not in charge of the movie nor his evildoer co-stars. Peyton and The Rock’s earnestness to the material is well-meaning but a downfall to a movie that shouldn’t need to be earnest to be entertaining and would probably do better with the low-quality of the animals, its main draw, to have the borderline silliness of a Roger Corman flick than its unironic insistence that yes… Rampage expects you to take these badly animated inserts as seriously as the Rock does.
*Also they have an arcade rack of the original game Rampage in their very professional high-rise office sticking out, implying that the game exists in this film and they were inspired by it for their Project Rampage. Which means they have wildly good aim and/or odds when they landed on the three animals of the game AND that ape would be named George AND that internet conspiracy theorists would name the wolf Ralph.