Nicolas Cage (‘Into the Spiderverse’, ‘Longlegs’) is known for tackling zany, over-the-top roles with a head-first mentality, embracing their quirkiness with mind bending commitment, and earning a unique reputation in doing so. ‘The Surfer’, Lorcan Finnegan’s (‘Vivarium’) latest psychological thriller, upholds the performative image Cage has garnered over his career, allowing for the esteemed actor to embody both sides of a serious and hilariously exaggerated inclusion to his filmography.
Tackling a combination of toxic masculinity and localism to Australian shores provides ‘The Surfer’ fittingly distinct footing to establish itself. Alongside this, Nicolas Cage’s titular (and name absent) lead battles against a failing marriage, lack of fatherly respect and struggles to buy his childhood home. On paper, the film reads as a confusing mess held up only by the energetic commitment Cage brings to the role, and whilst messy it may be, it oddly works.
‘The Surfer’ opens with an aggressively confrontational scene where Nic Cage and his son are denied access to his childhood beach by a band of rowdy locals. Humiliated by the experience, and heartbroken at the negative return to his mysterious past, Cage vows to ride the waves alongside his son, no matter the cost. Following this, a slow burn approach towards a dramatic ending begins, filled with moments of intrigue, confusing suggestion and deliberately brief hilarity. In fashion with much of Cage’s other low budget work, there is a chaotic personality found constantly throughout. Audiences should avoid pausing for bathroom breaks and instead surf the wave of the bizarre 100-minute-long venture.
Perhaps the most impressive feat of ‘The Surfer’, outside of the thoroughly eccentric acting, is how immersive the film is, despite only have two primary locations; a parking lot and the beach. This can of course be attributed to captivating on-screen performances, but praise should be given towards Lorcan Finnegan who demonstrates some growth as a director since he last pulled a similar trick in ‘Vivarium’ (2019). Despite audiences being confined to a world of roughly a 300m circumference, the Australian sand, or tarmac depending on where you are, never becomes a boring setting. Given the film’s premise, this decision doesn’t feel strange but rather fitting, enjoyment can be found in the landscape limitations through visual tricks and lens flares depicting the boiling heat.
Such praise can also be applied to the cast too, whilst small, each participant serves a necessary purpose that culminates in satisfying explanation for the trials Nic Cage’s surfer suffers throughout. Granted, the narrative is inherently peculiar, and thus the ending is too. Yet, ‘The Surfer’ never oversteps its importance, fully embracing the irregularity it provides Hollywood, choosing to run with this momentum and at least deliver something original. Julian McMahon (‘The Fantastic Four’) features as the film’s antagonist Scally, local surfer and leader of the group opposing Cage’s desires. His chemistry with Cage throughout is tense and sublime, with McMahon oozing a magnificently unlikeable personality that allows audiences to root for Cage’s success, often mirroring that of internet laughingstock Andrew Tate.
If you’re watching a Nicolas Cage movie you’re likely expecting a wacky, over-the-top premise that doesn’t take itself seriously. Ironically, this mentality self-imposes a limit on what the film can achieve narratively, and how wide of an audience reach it may have. In its current form, ‘The Surfer’ is a fun ‘turn your brain off’ flick, but within the script there is potential for a truly great movie, admittedly one perhaps only accessible through a higher budget. In various scenes, Cage’s surfer visualizes himself in the surrounding areas, on a balcony, on the beach, holding a gun, these moments deliver intrigue and tease a momentous finale with an something deeper underlying. However, these moments have a disappointing, and frustratingly predictable, revelation that prove to be a much less exciting, but still entertaining, conclusion. In fairness, this criticism may hold more weight depending on audiences’ familiarity with Director Finnegan’s past work.
Writer Thomas Martin (‘Prime Target’) delivers a ridiculously baffling script that encourages Nicolas to go ‘Full Cage’. His descent from loving father to manic, sweat-soaked delusionist screaming “Eat the rat!” whilst shoving a dead rat down a surfer’s throat provides the extravagant energy the role requires. Audiences are sure to screech with laughter at the script seemingly written for Cage’s unrestrained gravitas, who immerses himself and clearly has the most fun he’s had in years. The presence of an underlying metaphor through toxic masculinity is somewhat there within ‘The Surfer’ but lacks a certain richness to carry the film to greater heights, and if anything, rewards participation in its abhorrent mentality. This is slightly disappointing given the ludicrous challenges Cage’s surfer faces. Either way, this is a must watch for Nicolas Cage enthusiasts.
Overall, ‘The Surfer’ is an absurdly enjoyable 100 minutes. Each minute is paced with a meticulous perfection, allowing all involved to deliver high-calibre performances, despite the financial limitations the original tale faces. In years to come, ‘The Surfer’ may be referred to as a modern cult classic. It’s not without faults, but given the premise and quirkiness of the attached Nicolas Cage, audiences going into this will receive exactly what they expect; a stupidly fun time.
‘The Surfer’ releases in theatres May 2
