Posted by Ken Burke On June - 6 - 2015 0 Comment



I realize that I’m a bit late in posting some comments on two relatively-new movies, Tomorrowland and San Andreas, but that’s due to some production problems at my end that are explained in my detailed review, also posted last week a bit later than I normally prefer.  However, my temporary noninvolvement hasn’t seemed to have kept anyone who was interested from attending screenings of either of these (San Andreas pulled in a whopping 54.6 million in domestic dollars in its opening weekend; Tomorrowland’s doing quite well also at about $63.7 million, but that’s after two weeks in release so overall it’s not drawing as well as anticipated for a big-budget Disney/George Clooney vehicle, possibly due to some rather mediocre reviews—only 48% positive on Rotten Tomatoes, 60% at Metacritic, although that factor certainly didn’t keep Dwayne Johnson’s vehicle from driving to possibly-unanticipated heights, given that San Andreas pulled only 49% and 43% respectively from these clusters of critics; I was certainly more generous with this Disaster movie [a genre descriptor, not a denigration as such], although I had to begrudgingly agree with the Metacritics on Tomorrowland where my 3 stars of 5 matched their 60%).  Anyway, by now you probably know what’s up with both of these latest contenders for your entertainment on-screen purchases, but just to recap quickly in case you need it:  Tomorrowland’s about how a teenage girl accidently stumbles onto a place of great wonder only to have it disappear, so with the help of a mysterious, even-younger benefactor she seeks out the one guy who might be able to help—except that he wants nothing to do with her or this mysterious, dangerous site; San Andreas is even simpler to describe, as the plot involves the titular tectonic-plate-mismatch that runs from roughly L.A. to San Francisco finally shaking loose in a monstrous earthquake that does huge damage up and down the state as an L.A. Fire Dept. helicopter rescue pilot first saves his ex-wife from a teetering L.A. building, then they head north to find their daughter who’s caught in even worse circumstances.  It’s just a grand diversionary entertainment ride but well-executed in terms of the spectacular special effects (Tomorrowland looks great too; it just has higher ambitions than it’s able to properly achieve).

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