If you’ve been following my other reviews this year, you’ll notice
that I haven’t made it a secret about how surprising a lot of this year’s films
have been so far. I honestly don’t know if it’s directly because of my own
expectations or if a lot of filmmakers this year have been getting better at
left-hooking the audience, but I am getting less and less confident about films
actually matching up with general audience anticipation. And yet, even with
that in mind, this is the one film that I was looking forward to the least out
of everything expected to come out this year. What’s more, as each piece of
marketing revealed more about it, the worse it ended up looking. It’s quite a
feat to take the teaser poster, with just about the least subtle dick joke I’ve
seen in quite a while, and somehow go further downhill from there but that’s
how this thing looks.
By this point, I think my expectations for this are at
their absolute lowest; unless we end up with another perplexingly offensive
offering, which isn’t exactly out of the realm of possibility, there’s no way
this could be as all-time awful as I’m expecting it to be. Could it?
The plot: Lifeguard Mitch Buchanan (Dwayne Johnson), the
leader of a team that patrols the beaches for trouble, is exasperated by the
ego of Matt Brody (Zac Efron), a prospective new lifeguard. However, it seems
that there are bigger fish to fry as, along with a series of dead bodies
washing up on their shore, Mitch and his team find themselves embroiled in a
conspiracy with local property tycoon Victoria Leeds (Priyanka Chopra) in the
centre of it all.
For a cast that features two of the bigger ‘impossible to
hate’ actors working today, it’s nice to see that reputation is still intact. Johnson
brings his endless charisma to the party, managing to deliver all of his
dialogue (for good and for lame) with just the right tone to make it stick.
Efron ends up with another surprisingly layered character, easily the most
complex of the entire cast, and he hits cocky and needing to be brought down a
notch without coming across as a massive tool in the process. Well, at least
not to the point where he’s annoying to watch. Alexandria Daddario is alright
but doesn’t really get a whole lot to do, same with Kelly Rohrbach, and it
isn’t helped that the whole “my eyes are up here” routine from the trailer is
funnier than I think even the writers intended it to be; her soul-stealing eyes
are still in effect, making the need to purposely avert attention to them a
little pointless.
Chopra is pretty good as our villain, nailing the cheesiness
and ‘not even trying to hide it’ aspects of her misdeeds quite well. Jon Bass
as another prospective lifeguard, while being victim to probably one of the
least effective bits of gross-out humour I’m likely to see all year, fits
nicely alongside the rest of the cast and, dare I say it, makes it believable
that he would be brought onto the team in the first place. For the token nerd,
that’s quite a feat. Hannibal Buress, while in a small role, easily gets some
of the biggest early laughs with his very matter-of-fact punchlines. David Hasselhoff
appears briefly as what is essentially Johnson’s spirit animal, and barely
registers because of it, and Pam Anderson’s entire role in the film is as a
slow-mo joke. Again, barely registers.
I’m not going to pretend that I’ve seen any real amount of
the original show, but given its memetic place in 80’s and 90’s nostalgia, I
think most people have a fair idea of what should be expected: Slow-mo, a cameo
or two from the original show and some other not-so-hidden nods to the source
material, all of which the film carries on in a way that doesn’t so much nudge
the fourth wall as rub its taint on the glass. Same goes for the High School
Musical reference made at Brody, come to think of it. Anyway, while the surface
references are done easily enough (considering they are pretty damn difficult
to mess up, even in films like this), it actually feels pretty in spirit of the
original show at its core.
From my understanding, the original show’s main
kitsch was how it made lifeguarding on a beach look like the most overblown
thing imaginable, carried out by Hasselhoff and co. who all took their jobs
dead bloody seriously and didn’t look all that clued-in on how silly everything
is. This film manages to keep up that idea, with “Lt.” Buchanan going above his
station and essentially playing cop. Of course, cop show clichés have been a
font for comedy throughout most of these TV show remakes so I can’t really tell
if it’s part of the joke or if it’s just lifted from its contemporaries. Still,
when wielded by this cast, it’s at least serviceable in terms of humourous
contrast.
Something else that feels inspired by its small-screen
origins is how episodic a lot of the scenes are, while still being tied
together with the big conspiracy involving drug dealing and property dealings.
This, however, doesn’t turn all that well and honestly, it’s mainly down to the
film’s sense of humour. Now, as has been showcased in my reviews before, I can
be a bit of a stickler when it comes to modern comedies; I get that gross-out
humour is for the 2010’s what camp was for the 80’s, but that still doesn’t
make me immediately think that just showing a dick on screen is instant comedy.
Add to that the cross-dressing gag, which has never been funny and is only
slightly less so nowadays, the dead man’s liquid fat gag from the trailers, and
of course the ‘gets genitals stuck in the cracks of a wooden beach chair’ gag,
and the word ‘gag’ ends up referring less to the type of joke and more a
recommendation of a way to get whoever wrote these jokes to shut the hell up.
To make things weirder is that, in-between the squick, there’s actual decent
comedy and drama going on. A lot of
the comedy just comes from the banter between characters, which comes across a
lot more natural than it probably has any right to, and the drama is generated
by Buchanan’s dedication to his job and Brody’s character arc about his former
fame and learning to be a team player. Yeah, it’s pretty clichéd, but it’s
handled well and actually lands on its feet. When both of these sides come
together, it results in the kind of film you would expect from a production
with this many writers and producers attached to it. Seriously, the
intersection of Ivan Reitman, Eli “Ooh, faced!” Roth, the creators of Reno 911
and the writing duo who gave us Freddy Vs. Jason comes a long way to explaining
why this feels so disjointed overall.
And speaking of things that don’t fit well together, let’s
get into some technical shit that I doubt most readers even care about but, too
bad, these things really bugged the hell out of me. Like, for starters, the
effects work. This film has been conceptually tossed around a lot over the last
few years, which would explain the myriad of names attached to it behind the
scenes, and the funding for this thing seems to have been spread pretty thin.
Frankly, this is the only explanation I can think of for why the
green-screening here is as Asylum-level as it is. The practical effects are decent
and there’s at least some creativity put into the variety of action beats, but
as soon as it gets to the fire and fireworks
specifically, it starts to fall apart. The sequence where Mitch and co. need to
rescue people from a burning boat at sea has amateur-level effects that are
legitimately painful to look at, not helped by how it looks like no human hands
were anywhere near the thing on camera.
And as if that wasn’t distracting
enough, then the soundtrack will do the rest. Composer Christopher Lennertz (et
al., because even the music room is overcrowded for this thing) has done a lot
of good as a music maker, and has been attached to a lot of these sorts of
up-close-and-personal comedies. I bring all this up because he seriously phoned
it in on this one. Sure, he provides some nice eclectic chase music to the
proceedings, but his licensed music picks really highlight why I specify good use of soundtrack in my reviews as
opposed to just a good soundtrack. No matter how much I love Run The Jewels,
there’s only so many songs you can pepper into the same production (often
reusing certain songs) before it starts to feel like you’re just letting
Pandora do your work for you. It’s not quite as bad as something like The Great
Gatsby in terms of terrible use of terrific music, but it’s not every day that
a film’s soundtrack genuinely bugs me like this.
All in all, while definitely having its irritations, this is
honestly a pretty decent flick. Stable action, a capable cast that delivers on
their occasionally weak material, and while the SFX and soundtrack do stick out
like very wobbly splinters, the overall approach to adapting an 80’s kitschy TV
show is a lot stronger than I’m used to seeing of late. Honestly, just to see
Johnson and Efron continue their streaks of giving their best even when
surrounded by less-than-ideal material, I’d say that it’s worth checking out.
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