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Film Review: ‘San Andreas’

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Dwayne Johnson stars in the disaster film "San Andreas". (Courtesy Photo)

Dwayne Johnson stars in the disaster film “San Andreas”. (Courtesy Photo)

By Dwight Brown
NNPA Film Critic

If you live in California, a major earthquake is your worst nightmare. The thought of a 9.5 quake is almost unimaginable and terrifying. Quick, stand under a doorway or hide under a desk, it’s coming and the aftermath is not all that pretty in San Andreas. This adrenaline-pumping movie turns a nightmare into big screen reality as it takes the disaster film genre (The Poseidon Adventure, Towering Inferno, Earthquake, Twister) to a whole new level.

In the past, films of this kind often skipped on character development, realistic dialogue and viable plotting and concentrated on the spectacle. Instead, TV writer Carlton (Nash Bridges, Lost, Bates Motel), working from a story by Andre Fabrizio and Jeremy Passmore (Red Dawn), has created three parallel storylines that add a human story to this worst-case natural disaster:

  1. A Caltech seismologist, Lawrence Hayes (Paul Giamatti), and his research partner Dr. Kim Park (Will Yun Lee, Hawaii Five-O), have found a way to predict earthquakes. “ Mass destruction. It’s not a matter of if, but when,” says Hayes.
  2. A Los Angeles Fire Department and Rescue helicopter pilot, Chief Ray Gaines (Dwayne Johnson), is dealing with the impending divorce from his wife, Emma (Carla Gugino, Spy Kids), and the breakup of his family after the death of his youngest daughter.
  3. Gaines’ surviving daughter Blake (Alexandra Daddario) is visiting San Francisco with Emma’s new wealthy, duplicitous boyfriend, Daniel (Ioan Gruffudd, Horrible Bosses). Cue the tremors.

The task of weaving the storylines into a viable drama as unfathomable carnage and chaos unfold is up to director Brad Peyton, who worked with Dwayne Johnson and producer Beau Flynn on Journey 2: The Mysterious Island. That film, however, left no indication that Peyton was perfectly capable of unleashing this monster. The moment-by-moment, never-stop-moving, continually astonishing 107 minutes of perfectly edited (Bob Ducsay, Godzilla), amazingly shot (Steve Yedlin, Carrie), well adorned (production designer Barry Chusid, The Day After Tomorrow) footage features 1,300 visual effects: Collapsing city skylines, a tsunami, the destruction of the Hoover Dam, farmland shifting like a deck of cards and bridges snapping like bread sticks. With Peyton at the helm, there is little time to breathe. And the few moments of respite, are reserved for fleshing out the characters and their dynamics.

The seismologist and his partner are the first to track the tremors that turn into huge shakes and his task is trying to get the word out there that a nine-plus earthquake is about to rattle and destroy California, from Los Angeles to San Francisco. Gaines first task is to rescue his wife from the top of a crumbling building in downtown L.A. And their joint assignment is to find their daughter in San Francisco, after her soon-to-be new stepfather has abandoned her. Says a very irked Emma as she screams into a phone leaving a voice message for Daniel: “You left my daughter? If you are not already dead, I’m gonna kill you!”

Paul Giamatti and Will Yun Lee don’t overplay their serious roles. Alexandra Daddario as Blake, a fitting young heroine, is believable as the young woman stranded in S.F. looking for higher ground and a rescue. Ioan Gruffudd as the cad who leaves her is suitably deceptive and cowardly; you want to witness his demise. Carla Gugino shows a feistiness that makes her character credibly brave. However, the weight of the film rests on Dwayne Johnson’s shoulders, and brother-man is up to the heavy lifting. His portrayal of Gaines is humorous, vulnerable and courageous, all at the right times. He is a far better actor than most of his movies would reveal. He’s solid.

San Andreas starts with an action scene, ends with an action scene, and in-between the pace is almost as relentless as the wave of destruction. It just doesn’t stop.

Visit NNPA Syndication Film Critic Dwight Brown at DwightBrownInk.com.

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Oakland Post: Week of February 11 = 17, 2026

The printed Weekly Edition of the Oakland Post: Week of – February 11 – 17, 2026

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Arts and Culture

Book Review: Books on Black History and Black Life for Kids

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

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Photo of Black History Month book covers by Terri Schlichenmeyer.
Photo of Black History Month book covers by Terri Schlichenmeyer.

By Terri Schlichenmeyer

Authors: Various, Copyright: c. 2025, 2026, Publishers: Various, SRPs: $17.99-$18.99, Page Counts: Various, 

Everybody in your family has stories to share.

Your parents have told you some, no doubt. Your grandparents have offered a few, too, and aunties and uncles have spun some good tales. But there’s so much more to know, so grab one of these great books and learn about Black History and Black life.

For the youngest reader, “As You Are: A Hope for Black Sons” by Kimberly A. Gordon Biddle, illustrated by David Wilkerson (Magination Press, $18.99) is a book for young Black boys and for their mothers. It’s a hope inside a prayer that the world treats a child gently, and it could make a great baby shower gift.

If someone said you couldn’t do something that you were clearly able to do, would you fight to do it anyhow?  In the new book, “Remember Her Name! Debbie Allen’s Rise to Fame” by Tami Charles, illustrated by Meredith Lucius (Charlesbridge, $17.99), a young girl in the Jim Crow South is told that she can’t dance because of the color of her skin.

She didn’t listen, though, and neither did her mother, who took her daughter to Mexico, where the girl soared! This is an inspiration for any 5-to-7-year-old; be sure to check out the back-of-the-book information, if you’re an adult fan.

Do you often hear your elders say things that sound like lessons?  They might be, so “Where There is Love: A Story of African Proverbs” by Shauntay Grant, illustrated by Leticia Moreno (Penguin Workshop, $18.99) is a book you’ll like. It’s a quick-to-read collection of short proverbs that you can say every day. Kids ages 4-to-6 will easily remember what they find in this book; again, look in the back for more information.

Surely, you love your neighborhood, which is why the tale inside “Main Street: A Community Story about Redlining” by Britt Hawthorne and Tiffany Jewell, illustrated by David Wilkerson (Penguin Kokila, $18.99) is a book for you.

Olivia’s neighborhood is having a block party, but she’s sad when no one shows up. That’s when she learns that “the government” is discriminating against the people and businesses near where she lives. So, what can she and her neighbors do? The answer might inspire 6-to-8-year-old kids to stand up to wrongs they see, and to help make their neighborhoods stronger and safer.

And finally, if a kid wants a book, where can they go to find it? In “I’m So Happy You’re Here: A Celebration of Library Joy” by Mychal Threets, illustrated by Lorraine Nam (Random House, $18.99) is a good introduction to the best of what a library has to offer. The freedom to walk into a library and borrow a book is the theme here, as is the sheer happiness of being welcomed, no matter who you are.  This is an easy book for kids as young as two and as old as five to enjoy.

On that note, if you want more, head to that library, or a nearby bookstore. They’ll be glad to see you. They’ve got stories to share.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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