The original arcade game of 1986 Rampage had a simple and satisfying premise: choose a monster to play, and then use it to destroy everything in sight. Soldiers with firearms, grenades and helicopters would eventually end up with the avatars of the players, but in the meantime, it was simple and fun. Like most games of the 80s, Rampage came with an extremely minimal background story: the three playable monsters used to be human, but each was mutated by something different. Apart from that, through decades of small reboots and ports from one system to another, Rampage remained pretty basic, and focused mainly on the kaiju fantasy of leveling a city in the most complete and efficient way possible.
That lack of background gives Warner Bros. & # 39; the big screen Rampage adaptation, a lot of room to breathe. Unlike the adaptations of video games like the series Tomb Raider or Assassins Creed that have to deal with years of accreted mythology and complicated character building, Rampage always I was going to be in a fairly safe area, as long as a giant monkey, lizard and wolf hit some buildings in dust. The writers ( Lost and The Strain & # 39; s Carlton Cuse, Hercules & # 39; Ryan J. Condal & Non-Stop Ryan Engle) seem to have approached the project with a "keep it simple, stupid" attitude: they reinforce the narrative with some nonsense science replete with buzzwords, and try to inject some heart and humor in the mix. But above all, monsters increase and send them into a frenzy of senseless destruction of CGI.
Dwayne Johnson, Hollywood's main protagonist for showing a winning smile or slapping a worried scowl in a ridiculous action setting, plays Davis Okoye, the primatologist at a San Diego wildlife sanctuary. Among other things, the habitat hosts orphaned apes by poachers. And one of those orphans, an albino gorilla named George, has a special bond with Davis, who rescued him in nature. George knows sign language and has a naughty sense of humor, and Davis's conversations with him have a rough and familiar dynamic. Davis treats George as something between a child and a co-worker who is in a unique position to help other gorillas acclimate to their new shelter home. But George is also the exact type of shoulder control partner and mocks the emotion whose true affection for Davis will not stop him from drawing magic cocks on Davis' face if the human falls asleep in the gorilla's enclosure. [19659004MientrastantoenunaimprobableestaciónespacialsecretademilmillonesdedólaresunexperimentodeempalmedegenesfallaparalacorporaciónhilaranteypocoéticaEnergyneyunaratadelirantedeltamañodeuncochesaledellaboratorioespacialdelacompañíaLalluviaproducetresmuestrasdeunmutágenoexperimentalquecaeatravésdelaatmósferayaterrizaenlaTierradondeunlobouncocodriloyGeorgeestáninfectadosCuandotodoscomienzanacrecerysevuelvencadavezmássalvajesypeligrososelDepartamentodeSeguridadNacionalintervieneparaprotegeraDavisyalaexempleadadeEnergynelaDraKateCaldwell( Moonlight Naomie Harris). Since the monsters are crazed and seemingly indestructible, a series of escalating conflicts ensues, with Davis desperately trying to calm George down or acquire a cure from Energyne before the monkey dies.
Rampage has a very informal and affable sense of humor, based mainly on jokes and some youthful antics. The beginnings get a weird amount of miles of humiliation from Davis's incompetent and cowardly pupil, Connor (played by Jack Quaid, recently seen as one of the imbeciles of Steven Soderbergh Logan Lucky ). But the funniest things about Rampage are their excessive dependence on the buzzwords of science and their bigotone villains. The mutagen is explained as an instant DNA splice compatible with CRISPR, but the story changes constantly, depending on the moment: apparently also involves growth hormones, recombinant DNA that gives mutated animals several superpowers and some type of vulnerability programmed to a virus . beacon of reference Everything is ridiculous, but above all because the characters continue to explain it with the serious seriousness of the documentalists who present the latest advances in genetic studies.
And the villains who commissioned the project are so widely drawn, that they would not be out of place in a Saturday morning caricature of the original era Rampage . Claire and Brett Wyden, the owner brothers of Energyne (played by Malin Akerman and Jake Lacy) devised the mutagenic plan to sell armed DNA, and their complete billion-dollar business plan literally goes beyond "making and selling monsters " "Brett, another dummy who feels like Connor's lost cousin, explains out loud to his coolest and most competent sister at the beginning of the movie:" There's a reason we were doing these experiments in space, "he yells when mutagen escapes from the laboratory, "and it was not precisely to improve humanity!" The dialogue is terrible, and Lacy interprets Brett with such a jolt, it seems that periodically someone is testing him.Akerman, meanwhile, is taken from the book of plays of the businesswoman of the 80s – lacks shoulder pads and fluffy hairstyle, but has the frozen reserve and bottomless greed.
But there is a strange retroactive charm for simplicity and The idiocy of these villains Claire's master plan involves the use of an orientation beacon that will lure the monsters to Chicago, where she intends them to go crazy and be destroyed by the military, after which Energyne You can harvest your DNA. This whole plan is a big question: how exactly do you expect your company to survive the process of inviting monsters to flatten their flagship building? How do you expect to get the corpses out of the government monsters without all the other evil scientists on the planet taking samples of the wreckage from the plane? And how exactly are their mutants able to hear a signal from thousands of miles away, and locate their location with absolute precision? None of that matters. Where many more serious-minded modern films would try to build a relevant message in this plot about the dangers of corporate power without control, lax regulations or genetic experiments, Rampage seems to consciously make the antagonists so strident and most unreal possible, to avoid any unfortunate association with reality. They do not exist to present reflective concerns about society. They are here to introduce monsters into a building-rich environment, and let the wild uproar begin.
It is clear that the filmmakers behind Rampage learned from the complaints about the flattening climax of the city of Man of Steel and other contemporary superhero films, where the attention was focused more on the emotion of destruction than on the plight of the villains. They make sure to eliminate all victims from the path, and leave aside the healing mechanics of the original game, where monsters can tear open buildings, snatch suffering victims and eat them to improve their health. There are survivors in Chicago whenever pathos is needed, but the movie pretty much comes with a final credit slogan that says "No innocent bystander was harmed in this story." Cuse and director Brad Peyton may also have learned from the last movie they did with Dwayne Johnson: San Andreas who was as dumb and anxious about destruction as Rampage but much less funny and quiet about.