Nicolas Cage’s ‘The Surfer’ Is One Summer Bummer

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The opening credit materializes over a beach and declares “Nicolas Cage is The Surfer.”

For just a moment, we contemplated the potential of that credit: A character surfing with abandon, perhaps reminiscent of his days as a Spicoli-like figure. Maybe even portraying a lifeguard, or a laid-back individual similar to The Dude?

For a short while, we considered the possibility that this credit might involve playing a character who surfs wildly (like Spicoli), or maybe a lifeguard or someone like The Dude.

In a change of pace, director Lorcan Finnegan’s sunlit yet hauntingly grim Australian neo-noir film finds Nicolas Cage portraying an American revisiting the shores of his childhood in Australia.

In my perspective, a man once known as The Surfer – a dreamer turned father who fell short of his aspirations – endeavors to share the beach, where his past was filled with promise, with his son. Regrettably, their peaceful outing is disrupted when they encounter locals who assertively claim the beach as an exclusive domain, causing them distress and unease.

In the heart of midlife, Cage’s Surfer yearns not just to rekindle his bond with the shimmering sea in the horizon, but also aims to invest in a seaside property for a picturesque view. However, a significant hurdle looms ahead – the formidable leader of a beach-dwelling cult, portrayed remarkably by Julian McMahon.

In “The Surfer,” I found myself navigating a world where Nicolas Cage’s character is relentlessly battered, both physically and mentally – a state of being dehydrated and desperate for someone to listen. Time and again, he encounters situations where he’s met with further pain or torment. Let me assure you, it’s an experience far from enjoyable.

I find it intriguing how Finnegan’s unique perspective shines through, complete with dark wit that’s delightful, and some surprising elements in the third act. However, for the majority of “The Surfer,” it turns into a tiresome, uncomfortable challenge to get through. (I’ll delve deeper into the third act later.)

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Picture “Straw Dogs” (1971) reimagined on an Australian coastline, or a budget-friendly surf and sand adaptation of “Mad Max: Fury Road” (2015), where the villains embody the ruthless followers of Immortan Joe’s cult. The movie that evokes “The Surfer” most in my mind is Oliver Stone’s darkly comedic and unsettling “U-Turn” (1997), in which Sean Penn embarks on a two-hour odyssey through a small town, embroiled in film noir tropes, as the town slowly erodes his sanity.

https://www.youtube.com/watch?v=HtkC4UNBAXU

In ‘U-Turn’, there are captivating character sketches and humorous moments that not only enhance but also add a unique touch to the narrative. However, the recurring scenes of Nicolas Cage’s character being beaten up, left for dead, and abused throughout most of the film seem excessively repetitive.

In one scene, there’s a sequence showing Cage, looking extremely hungry and distressed, consuming the most unappetizing foods he can find. Even though I’ve been a longtime fan of Cage since “Peggy Sue Got Married” (1986), witnessing him lower himself to drink water from a filthy puddle almost made me decide to stop watching altogether.

I’m grateful for a refreshing change in the latter part of the storyline, but unfortunately, I found myself lagging behind the script. Although the climax delves into vivid psychedelic visuals and bizarre violence (which indeed exists in abundance here), it ultimately fails to compensate for the tedium of watching this movie unfold.

It’s possible that a devoted fan base may emerge, yet it must be emphasized that Cage’s performances in this project are truly captivating. He has been part of superior films and neo-noir productions that have had a greater impact, such as Ridley Scott’s “Matchstick Men” (2003), John Dahl’s “Red Rock West” (1993), and Brian De Palma’s “Snake Eyes” (1998).

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Cage’s creative resurgence is no mere jest (he’s moved past the slump he faced during the “Sorcerer’s Apprentice” era), and “The Surfer” presents a formidable test for him – an actor known for his willingness to take on diverse roles. However, it’s us, his fans, who are truly put to the test by this film, as we crave and deserve more from such a talented performer like Cage.

McMahon’s captivating yet detestable portrayal and stunning cinematography are the film’s main strengths. It might be fun to catch it with a lively late-night movie crowd. Admittedly, I would have loved to witness the audience response during last year’s Cannes Film Festival when this film, which tests one’s patience, was screened alongside “Anora,” “The Shrouds,” and “Megalopolis” – a truly peculiar year for Cannes!

Rather than endure a film featuring Nicholas Cage being driven to extremes and beaten down by a pervasive and omnipotent cult, I’d much prefer to revisit the 2006 version of “The Wicker Man”.

One and a Half Stars

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2025-05-11 18:03