---
title: "San Andreas"
year: 2015
kind: "film"
canonical: "https://film.one/film/san-andreas"
fi1m_id: "san-andreas"
imdb_id: "tt2126355"
tmdb_id: 254128
wikidata_id: "Q15973073"
fi1m_score: 54
critics_score: 50
critics_reviews: 26
published: "2026-10-05T13:39:24.429661+00:00"
updated: "2026-10-05T13:39:24.943107+00:00"
region: "HU"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# San Andreas (2015)

Directed by Brad Peyton · 1h 54m · NMHH 16 · Action, Drama, Thriller

## Identity

San Andreas

- **Canonical:** https://film.one/film/san-andreas
- **Type:** Film
- **Fi1m ID:** san-andreas
- **IMDb ID:** tt2126355
- **TMDB ID:** 254128
- **Wikidata ID:** Q15973073
- **Same entity:** https://www.imdb.com/title/tt2126355/, https://www.themoviedb.org/movie/254128, https://www.wikidata.org/wiki/Q15973073

**Fi1m score: 54** · Critics 50 from 26 reviews

*In a sentence:* Dwayne Johnson commandeers a helicopter, a plane and a boat to find one daughter while several million Californians fend for themselves

> Brad Peyton flattens Los Angeles and San Francisco with real skill and a rooftop pool we will not forget, then asks us to care about one family’s divorce. Johnson and Giamatti hold it up; the script keeps letting go.

## Synopsis

Ray Gaines (Dwayne Johnson) flies a rescue helicopter for the Los Angeles fire department. His wife Emma (Carla Gugino) has filed for divorce and is moving in with Daniel Riddick (Ioan Gruffudd), a San Francisco property developer; their daughter Blake (Alexandra Daddario) is about to leave for university. Ray plans to drive her north himself, but a tremor at the Hoover Dam, where seismologist Lawrence Hayes (Paul Giamatti) is testing a method of predicting earthquakes, calls him away, and Daniel flies Blake to San Francisco instead. There she meets Ben Taylor (Hugo Johnstone-Burt), an Englishman in town for a job interview, and his young brother Ollie (Art Parkinson). Then the San Andreas fault gives way along its whole length, and Ray and Emma set off north to find their daughter.

## Review

Brad Peyton’s *San Andreas* takes 114 minutes to break California in half, and for most of them it is good at the breaking. The idea, from a story by Jeremy Passmore and Andre Fabrizio, is the old one: a record earthquake hits the West Coast, and we follow a handful of people through it. Carlton Cuse’s screenplay narrows that handful to one family with a divorce to mend. The buildings come down convincingly. The marriage does not.

Ray Gaines (Dwayne Johnson) flies a rescue helicopter for the Los Angeles fire department, and the film opens with him winching a woman out of a car hanging over a canyon edge, which is what he will be doing for the next two hours. His wife Emma (Carla Gugino) has served him divorce papers and is moving in with a property developer, Daniel Riddick (Ioan Gruffudd). Their daughter Blake (Alexandra Daddario) is off to university in San Francisco. Johnson plays all of this quietly, as a big man who has decided to be hurt in private, and he is better at it than the script requires.

Lawrence Hayes (Paul Giamatti), a seismologist, has built a model that can predict earthquakes and tests it at the Hoover Dam at the wrong moment. Giamatti is the other reason to stay. He plays Hayes as a tired man who has been right for years and is sorry about it, and the film has the sense to stand him before a screen and let him say frightening things slowly. His scenes with Will Yun Lee as Dr Kim Park and Archie Panjabi as the reporter Serena Johnson are the only ones where anybody appears to be thinking.

The destruction is the film, and it is handled with care. Barry Chusid’s production design gives Los Angeles glass towers to fold and San Francisco a waterfront to lose, and Steve Yedlin keeps the camera at street level or inside the helicopter, so the scale comes from looking up or down. When Ray flies to a rooftop to pull Emma off a collapsing tower, and the pool froths and tips its water over the edge, we sat forward and stopped hearing the dialogue. It is the best image in the film, and Bob Ducsay holds it long enough. Andrew Lockington’s score pounds under all of it, mostly at the right moments.

What does not work is the dialogue, and the shape the film gives the catastrophe. Cuse’s lines mean precisely what they say and the actors deliver them as if they know it. Worse, the film has decided that of the millions in two cities, four matter, and arranges the disaster around their reunion. Buildings fall on strangers so that Ray and Emma can discuss their marriage in a helicopter. By the second hour we were bored, then irritated at being bored while a city sank, because the film kept cutting away to check whether the Gaineses had made up yet.

Daddario carries the San Francisco half with Hugo Johnstone-Burt as Ben Taylor and Art Parkinson as his younger brother Ollie. Theirs is the lightest strand and the most watchable, because Blake is allowed to be competent rather than carried and Parkinson gets the few jokes Cuse wrote. Gruffudd is handed a coward and plays him. Kylie Minogue appears as his sister Susan for one scene and is then forgotten. Wendy Chuck’s costumes stay sensibly torn and dusty throughout.

Against the disaster films it copies, the 1974 *Earthquake* above all, it is better built and less interested in people. Those films were crowded, and the crowd was the point: you watched a dozen strangers and waited to see which of them the building would take. This one has a family and a seismologist, and once you notice how carefully it looks after them the suspense drains out, with an hour still to run.

See it for the pool, for Giamatti, and for what the sea does to the Golden Gate Bridge, which we will leave you to discover. See it at home, where you can talk over the dialogue without missing anything. The 12A is right: a great deal falls down and almost none of it bleeds.

*Fi1m score 54, published 5 October 2026.*

## What the critics say

Most critics agree on what San Andreas does well and what it does badly; they differ only on which matters more. The effects draw praise almost everywhere, with the collapsing skyscrapers and the tsunami at the Golden Gate Bridge named most often. Dwayne Johnson is the other point of agreement: even reviews that dislike the film credit his steadiness, and a few find him surprisingly gentle. Paul Giamatti picks up mentions as the best thing in it.

The reservations cluster on the script and the family drama, which most find thin and an awkward fit for the destruction around them. From there the spread is wide. A minority enjoy the silliness in the spirit of 1970s disaster films; a larger group find it numbing, with Little White Lies calling it dull and Deadline unintentionally funny. Slant goes further, calling the film cynical for using mass death as a backdrop to reuniting a family, and Empire and Eye for Film object to its women being reduced to victims awaiting rescue.

## Straight answers

**Is San Andreas worth watching?**

*San Andreas* is worth watching only for its destruction, and we scored it 54. The toppling of Los Angeles and San Francisco is handled with real care, and Dwayne Johnson and Paul Giamatti give it more than the script asks, but the film arranges a catastrophe around one family's divorce and the suspense drains out with an hour to run. Watch it at home, where the dialogue can be talked over.

**How long is San Andreas, and what is it rated?**

*San Andreas* runs 1h 54m and is rated 16 by the NMHH in Hungary. It is an action and drama film.

**Where can I watch San Andreas in Hungary?**

*San Andreas* is available to rent from Apple TV from Ft 799. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is San Andreas, and is it suitable for children?**

*San Andreas* is a 12A, and the certificate is right: a great deal falls down and almost none of it bleeds. The frightening parts are buildings folding, a rooftop pool tipping over the edge and the sea reaching the Golden Gate Bridge, all scale rather than gore. Children of ten or so who can take two hours of peril should be fine; the very young or easily unsettled may not be.

**How does San Andreas compare to The Towering Inferno?**

*San Andreas* is better built than [*The Towering Inferno*](https://film.one/film/the-towering-inferno) and much less interested in people. The seventies film is crowded, with a dozen strangers trapped above the flames, and that crowd is what makes its first ninety minutes properly frightening; the newer film follows one family and a seismologist and looks after them too carefully. Allen's is the better film, though it is 165 minutes long and its people are duller than its fire.

**What should I watch after San Andreas?**

After *San Andreas*, try [*The Towering Inferno*](https://film.one/film/the-towering-inferno) (1974, Fi1m 68): The crowded model this film copied, with a dozen strangers and a lift shaft. Then [*The Impossible*](https://film.one/film/the-impossible) (2012, Fi1m 72): The 2004 tsunami through one family, with Naomi Watts in a hospital bed; and [*Twister*](https://film.one/film/twister) (1996, Fi1m 64): Weather as monster, a divorce to mend, and far better jokes.

### Reviews we read (26)

- **Evening Standard**, David Sexton (75/100, inferred): Sexton finds it a thrilling, satisfying disaster movie, though its dialogue is unremarkable. He particularly praises Dwayne Johnson’s understated, gentle performance. [Read](https://www.standard.co.uk/culture/film/san-andreas-film-review-dwayne-johnson-gives-understated-performance-in-superbly-straightup-disaster-movie-10283723.html)
- **IndieWire**, Kate Erbland (B-): The review finds the film a predictable, overstuffed disaster movie that is entertaining largely because of Dwayne Johnson. It praises the jaw-dropping CGI and Johnson’s screen presence, while noting the screenplay can cause audience fatigue. [Read](https://www.indiewire.com/criticism/culture/review-san-andreas-starring-dwayne-johnson-carla-gugino-alexandra-daddario-paul-giamatti-and-more-263405/)
- **The Guardian**, Peter Bradshaw (70/100, inferred): Bradshaw finds the film spectacularly silly and entertaining, recalling the pleasures of 1970s disaster movies. He singles out the rooftop pool frothing like a Jacuzzi as a memorable visual moment. [Read](https://www.theguardian.com/film/2015/may/28/san-andreas-review-dwayne-johnson)
- **Screen Daily**, John Hazelton (64/100, inferred): The accessible page identifies this as a review, but provides no verdict. Its specific praise or complaint is unavailable because the article is paywalled. [Read](https://www.screendaily.com/reviews/san-andreas-review/5088666.article)
- **The New York Times** (64/100, inferred): The accessible page does not reveal the critic’s verdict. Its headline describes Johnson rushing to rescue a collapsing world, but provides no evaluative detail. [Read](https://www.nytimes.com/2015/05/29/movies/review-san-andreas-dwayne-johnson-rushes-to-rescue-his-collapsing-world.html)
- **RogerEbert.com** (63/100, inferred): The page could not be accessed, so the critic’s verdict and specific praise or complaint are unavailable. The URL identifies this as a RogerEbert.com review of the 2015 film. [Read](https://www.rogerebert.com/reviews/san-andreas-2015)
- **Radio Times**, Andrew Collins (3/5): Collins finds it an adrenaline-fuelled, large-scale thrill ride with a fairly conventional emotional focus. He praises the digital artistry that immerses viewers in the collapsing buildings. [Read](https://www.radiotimes.com/movie-guide/b-ls7p4r/san-andreas/)
- **The Hollywood Reporter**, Justin Lowe (60/100, inferred): Lowe finds the disaster film entertaining but not especially earthshaking, with its family drama an uneasy fit for the action. He praises Dwayne Johnson’s emotionally engaged performance and the convincing blend of practical effects and CGI. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/san-andreas-film-review-797270/)
- **The New Yorker**, Anthony Lane (55/100, inferred): Lane finds the film’s family-rescue story and acting unconvincing, but considers its disaster spectacle entertaining. He singles out the flooded city’s eerie atmosphere and Johnson’s more effective performance underwater. [Read](https://www.newyorker.com/magazine/2015/06/08/crackups)
- **Los Angeles Times**, Kenneth Turan (50/100, inferred): Turan finds the film technically compelling but dramatically formulaic, making his verdict mixed. He praises the visual effects and Dwayne Johnson’s stabilizing screen presence, while criticizing the clichés and implausible plot. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-san-andreas-review-20150529-column.html)
- **Vulture**, David Edelstein (50/100, inferred): Edelstein finds the film clunky and ridiculous but enjoyable in a suitably camp spirit, while criticizing its hollow spectacle. He praises Paul Giamatti’s performance and the film’s effects, but says its destruction lacks emotional weight or reverence for San Francisco. [Read](https://www.vulture.com/2015/05/san-andreas-review-not-un-fun.html)
- **Little White Lies**, Adam Woodward (3/2/2): The critic finds the film crushingly dull despite the scale of its destruction. He faults the spectacle for smothering authentic human drama and leaving its emotional core hard to locate. [Read](https://lwlies.com/reviews/san-andreas)
- **Time Out**, David Ehrlich (2/5): The critic calls it a patience-testing disaster movie. The review singles out its earthquake spectacle, including a striking parachute sequence, while suggesting the spectacle does little to ease the film’s tedium. [Read](https://www.timeout.com/movies/san-andreas)
- **Total Film**, Kevin Harley (2/5): Harley finds the film a familiar, uninvolving disaster spectacle whose script undermines its cast. He singles out the likeable performances, especially Alexandra Daddario and Hugo Johnstone-Burt, as a bright spot. [Read](https://www.gamesradar.com/san-andreas-review/)
- **Slant Magazine**, Ed Gonzalez (1.5/4): Gonzalez condemns the film as cynical and arrogant in its equation of Hollywood and American values. He particularly criticizes its use of mass destruction as a backdrop for reuniting a nuclear family. [Read](https://www.slantmagazine.com/film/san-andreas/)
- **Empire**, Dan Jolin (35/100, inferred): Jolin finds the film entertaining as disaster spectacle but criticizes its familiar, shallow plotting. He praises the visual effects and Dwayne Johnson’s charisma, while objecting to the women being reduced to damsels in need of rescue. [Read](https://www.empireonline.com/movies/reviews/san-andreas-review/)
- **Variety**, Andrew Barker (30/100, inferred): Barker finds the film delivers foolish disaster-movie thrills at first but loses its appeal through spectacle overload and a lack of suspense. He praises Dwayne Johnson’s screen presence, while singling out the film’s best joke as dumb but out of place. [Read](https://variety.com/2015/film/reviews/film-review-san-andreas-1201505369/)
- **The Wrap**, Alonso Duralde (65/100, inferred): The critic finds the film dumb but entertaining, with its disaster spectacle overcoming its weak plotting. The exciting action set pieces are singled out as the chief reason it works. [Read](https://www.thewrap.com/san-andreas-review-dwayne-johnson-carla-gugino-alexandra-daddario/)
- **Paste**, Brent McKnight (6.2/10): McKnight finds the film a gleefully absurd, entertaining disaster spectacle, though its story and characters are thin. He praises the escalating destruction and visual scale, while noting that the effects eventually become numbing. [Read](https://www.pastemagazine.com/movies/san-andreas)
- **Den of Geek**, David Crow (3/5): Crow finds the film an entertaining, broad disaster spectacle, though it is forgettable and occasionally plods. He praises the varied destruction set-pieces, especially the tsunami sequence at the Golden Gate Bridge. [Read](https://www.denofgeek.com/movies/san-andreas-review-dwayne-johnson-the-rock-alexandra-daddario/)
- **HeyUGuys**, Stefan Pape (60/100, inferred): Pape finds the film entertaining but too staged and melodramatic to feel authentic. He praises the breathtaking earthquake effects and singles out Paul Giamatti’s performance as the best thing about it. [Read](https://www.heyuguys.com/san-andreas-review/)
- **Digital Spy** (35/100, inferred): The critic finds the film a spectacle-heavy, forgettable take on the disaster genre that fails to refresh its formula. The impressive effects-driven set-pieces are its main strength, though they are judged no more arresting than recent blockbusters. [Read](https://www.digitalspy.com/movies/a649355/san-andreas-review-can-mother-nature-stop-the-rock/)
- **NME** (30/100, inferred): The critic finds the disaster film spectacular but flawed and cheesy. They praise the crumbling-skyscraper panoramas while criticizing their repetition and the uneven, cheesy script. [Read](https://www.nme.com/reviews/reviews-various-artists-16097-314783)
- **Consequence**, Dominick Suzanne-Mayer (25/100, inferred): The critic finds the film neither genuinely thrilling nor successful at balancing disaster spectacle with melodrama. They single out its visually forceful destruction sequences, but say the relentless effects and grim tone grow tiresome. [Read](https://consequence.net/2015/05/film-review-san-andreas/)
- **Deadline**, Pete Hammond (25/100, inferred): Hammond finds the film unintentionally funny and ultimately not much fun, blaming its weak script for undermining the disaster spectacle. He credits the competent effects but singles out the implausible characters and story as the film’s central failure. [Read](https://deadline.com/2015/05/san-andreas-review-dwayne-johnson-disaster-movie-1201434463/)
- **Eye for Film**, Amber Wilkinson (25/100, inferred): The critic finds the film shallow, poorly scripted and lacking believable stakes, despite its impressive disaster spectacle. The visual effects are singled out for praise, while the characters and female agency draw sharp criticism. [Read](https://www.eyeforfilm.co.uk/review/san-andreas-2015-film-review-by-amber-wilkinson)

## Details

- **Director:** Brad Peyton
- **Director:** Brad Peyton
- **Screenplay:** Carlton Cuse
- **Story:** Andre Fabrizio, Jeremy Passmore
- **Cinematography:** Steve Yedlin
- **Editor:** Bob Ducsay
- **Music:** Andrew Lockington
- **Production design:** Barry Chusid
- **Costume design:** Wendy Chuck
- **Producer:** Beau Flynn
- **Cast:** Dwayne Johnson as Ray Gaines; Alexandra Daddario as Blake Gaines; Carla Gugino as Emma Gaines; Ioan Gruffudd as Daniel Riddick; Archie Panjabi as Serena Johnson; Paul Giamatti as Dr. Lawrence Hayes; Hugo Johnstone-Burt as Ben Taylor; Art Parkinson as Ollie Taylor
- **Runtime:** 1h 54m
- **Certificate (NMHH):** 16
- **Release (Hungary):** 4 June 2015
- **Genres:** Action, Drama, Thriller
- **Budget:** $110 million
- **Box office:** $474 million
- **Trailer:** https://www.youtube.com/watch?v=F1ZewAPl7L0

## Where to watch in Hungary

- Apple TV: rent Ft 799, hd
- Apple TV: buy Ft 999, hd

*Checked 2026-10-05.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Towering Inferno* (1974), Fi1m 68: The crowded model this film copied, with a dozen strangers and a lift shaft — [Fi1m page](https://film.one/film/the-towering-inferno.md)
- *The Wave* (2015): A Norwegian fjord, one small town, and a disaster film that counts its dead
- *Aftershock* (2010): Feng Xiaogang’s Tangshan earthquake drama, where the quake ends early and the grief does not
- *The Impossible* (2012), Fi1m 72: The 2004 tsunami through one family, with Naomi Watts in a hospital bed — [Fi1m page](https://film.one/film/the-impossible.md)
- *Twister* (1996), Fi1m 64: Weather as monster, a divorce to mend, and far better jokes — [Fi1m page](https://film.one/film/twister.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/san-andreas