Big dumb fun.

I love Dwayne Johnson. You love Dwayne Johnson. We all love Dwayne Johnson. Regardless of the ultimate quality of his films (and there’s been a fair few stinkers through the years), it’s hard to deny the allure of the man formerly known as The Rock

The natural charm, the striking physicality, the unflinching work ethic, the surprisingly proficient acting chops; Johnson has single-handedly erased the memory of that Hulk Hogan-led era of wrestlers-turned-actors and, in turn, become one of the most bankable stars in Hollywood.

To break free completely from the confines of his pro wrestling past is incredible enough on its own, yet to do so while also becoming a true box office superstar at a time where movies are sold less and less on the back of an actor’s name brand alone, demonstrates just how unique Johnson is.

With just a wink and a smile, Johnson can brighten even the dullest material, however, this time he may have finally met his match. For, despite his undoubted abilities, not even The Rock can do the unthinkable and create a video game film that isn’t a complete train wreck, surely?

Primatologist, Denis Okoye (Dwayne Johnson), is a man who keeps people at a distance. When his closest friend, an extraordinary silverback gorilla named George, becomes infected by a rogue genetic experiment, Denis is forced to open up as this once gentle ape becomes a giant, raging monster. As George and fellow mutated beasts tear across America, destroying anything and everything in their path, Denis is forced to team up with those he distrusts the most to halt a global disaster and save the monstrous creature that was once his friend.

One day they’re going to get this right, aren’t they? While Rampage certainly has its moments, the film struggles to break free of the video game movie void that has consumed so many in the past

The fabled history of the video game adaptation is as long as it is depressing. Even as the game and film industries evolve around them, they appear eternally happy to tread the same stagnant water they’ve been stuck in since Super Mario Bros. first dropped the ball in the early 90s. Hell, we’ve even been here before with Dwayne Johnson and that god-awful Doom adaptation everyone’s conveniently forgotten about.

On the surface, it really shouldn’t be that hard, yet there’s something inherent in the storytelling process of many video games that makes them nigh on impossible to adapt successfully.

Granted, not all video game plots are so complicated they can’t be adapted, however, there’s a fundamental narrative intimacy and intricacy to the very best of them that’s tough to transfer to a linear plot without losing the essence of their success. Particularly with modern computer games; their sprawling, expansive, and multi-layered nature often goes missing on the journey from console to cinema screen.

On this front, Rampage certainly has the advantage, primarily because the game it’s based on really doesn’t have a plot. Released in the days when narratives were afterthoughts to the simple delights of the gameplay itself, Rampage’s entire plot centred on giant animals pummelling the snot out of a city for little reason, and the film really doesn’t stray far from this.

As a pleasant change from many adaptations, the game’s non-existent plot allows Rampage significant breathing space from the kind of forced, convoluted narratives that often weigh the genre down. The game is about giant animals destroying buildings. The film is about giant animals destroying buildings. Simple as that.

To its credit, Rampage does its best to build a little narrative muscle around the source material’s bare bones but it fails to take full advantage of the license it’s been afforded. Instead of getting creative with the limited material, the film plays it far too safe with a plot so lightweight it might as well not be there.

While it was certainly necessary to explain how and why George and friends became giant, mutated city-wreckers, what we end up with is a lot of half-arsed, ineffectual science exposition that adds very little of substance to the film. Of course, part of Rampage’s beauty is its throwaway nature, but there are definitely limits to how far this can be pushed before it all collapses.

Checking your brain at the concessions stand is always recommended with this brand of no-nonsense blockbuster, yet, even in a brainless daze, Rampage’s predictability is all too obvious. Derivative of Godzilla, King Kong, and a million other giant monster movies; there’s not an original bone to be found in the film’s body and, as a consequence, it all becomes far too tired and easily to telegraph.

With such a one dimensional setup, the key question is whether Rampage has enough heart about it to make up the shortfall. With a narrative largely devoid of character, there’s always room for recovery if the film can find itself a little depth from elsewhere in the script, and Rampage manages it…just.

Though in relatively subdued form, Dwayne Johnson radiates the kind of charisma that’s had Hollywood studios falling over themselves to work with him and, even in second gear, his effortless charm carries the film an awful long way on its own. Working with such tired material, one liners and quips often fail to land as desired, but when they’re done with Johnson’s trademark billion-dollar smile, it doesn’t matter.

Both literally and figuratively, Johnson does a lot of Rampage’s heavy lifting and it’s in his character’s relationship with George the gorilla that the film finally becomes something a tad more defined than your average Transformers­­ smash-fest.

From the tragic backstory of how they met, to the lovable, light-hearted sign language banter, the bond between Davis Okoye and George is really what holds the entire film together and, even at the height of the urban carnage, there’s something there in the debris to make Rampage worthy of your time and emotional investment.

Barring Jeffrey Dean Morgan’s drawling government agent (essentially playing The Walking Dead’s Negan in a suit), who starts off punchably smarmy but ends up surprisingly charming, there’s not much to write home about with the rest of the cast.

Naomi Harris does a solid job with some rather stale material, as her natural abilities ensure she makes the most of such a limited character, yet she leaves little lasting impression by the end.

Leaving even less of an impression are the film’s moustache-twirling villains, the Wydens. Bland, predictable, and terribly acted; these corporate panto baddies arrive with plans of vague nefariousness and leave with little consequence. It’s a real shame, as a little more thought in this department could’ve shifted Rampage up a gear but, as it is, neither Wyden sibling adds anything of worth to the film.

Surprisingly for a something that doesn’t physically exist, George is perhaps the only character with the ability to out-charm The Rock. Some admirable attention has clearly been paid to making sure George possesses as much personality as possible, with every hand gesture and facial expression able to emote in ways many of the human characters can’t.

In a film that trades in grand, rowdy destruction, it’s the quiet moments between Davis and George that makes Rampage work in ways it has no real right to. The only shame is that these moments are often pushed to the side in favour of the smashy-crashy stuff, as George becomes reduced to a one-note, hulked-out ball of rage, yet even in these moments it’s hard not to admire the effort put in to creating such an impressive computer generated beast.

While it’s certainly not War for the Planet of the Apes-level impressive, the CGI on George is pretty top notch nonetheless, adding significant personality to something that could’ve easily fallen flat in the wrong hands.

The action and wreckage that swirl around George is as chaotic as one might expect, yet executed well enough to avoid becoming destruction porn. As things begin to really kick off, director Brad Peyton does a solid job of keeping things engaging and ensuring the action feels close to the kinetic energy of source material as much as possible.

Ultimately however, Rampage is The Rock show through and through, as it coasts by largely on the allure of its star alone and, for the most part, it works. Feeling like a throwback to the 80s and 90s action vehicles that the likes of Arnie and Stallone called their own, Rampage is a loud, brash carriage for Dwayne Johnson’s undeniable star power. Nothing more, nothing less.

Hidden beneath all the CGI and debris, there’s something deliciously retro about Rampage and, much like Johnson’s previous disaster vehicle, San Andreas, there’s certainly something to admire in the film’s old fashioned, straight-shooting attitude. It’s the kind of name-brand action blockbuster that went the way of Predator and Rambo decades ago and, in an era where Hollywood builds its stars around its franchises, rather than vice versa, you really can’t see anyone else pulling this kind of thing off right now.

Without a shred of originality in its body, Rampage is pulled just above mediocrity through the irrepressible charm and admirable perseverance of Dwayne Johnson, together with the heart of his relationship with George the CGI gorilla. Despite the dull script and the brainless action, it’s in The Rock’s charismatic turn and the sweet central relationship that the film earns the right to be in the upper echelons of the video game movie list. However, when you find yourself barely above the likes of Mortal Kombat and Angry Birds the Movie, that really isn’t saying much.