R | 1h 40m | Drama, Mystery, Thriller | 2025
Regardless of the issues he has in his personal life (excessive spending, tax debt, five marriages), few can deny the acting talent of Nicolas Cage and his seemingly tireless work in front of the camera. Some naysayers claim Cage’s financial woes are why he works so much, which could be true. However, from my perspective, Cage just likes what he does for a living and prefers to stay busy.
Exterior Chamber Piece
The action takes place entirely at a parking lot and the Australian beach it overlooks. “The Surfer” has a baked-in claustrophobic air that makes it play out like an outdoor chamber piece. Irish director Lorcan Finnegan (“Vivarium” and “Nocebo”) and his fellow countryman, first time feature writer Thomas Martin, slowly amp up the dread factor right out of the gate.
The Surfer and his teen son (credited only as the Kid, played by Finn Little) arrive at the fictional Luna Bay, where the Surfer grew up. After reaching the sand, they are told in no uncertain terms that if they don’t live there, they can’t surf there.
Test of Wills
For the next hour, “The Surfer” becomes a test of wills between the Surfer, Scally, and the dozen or so members of Scally’s gang dubbed the “Bay Boys.” Mostly young beach bum types with foul mouths and questionable hygiene, the Bay Boys taunt the Surfer at every turn. This includes, but is not limited to, defacing his Lexus, stealing his belongings, and beating him whenever he encroaches their space, meaning everywhere.
The Surfer has separate yet equally disquieting encounters with the Bum (Nic Cassim) and the Cop (Justin Rosniak). He’s now convinced there is a giant conspiracy looking to bring him down, which is understandable, but not entirely true. A combination of his own misplaced ego, perceived humiliation, past errors, summertime heat, dehydration, and some major league Bay Boy gaslighting is slowly but surely driving the Surfer mad.
With many of Finnegan’s framing choices, and an odd, up-tempo, light jazz score by composer François Tétaz, the movie carries an unmistakable 1970s-era exploitation genre vibe. This becomes even more apparent with the overlap of subplots.
David Fincher
This collective knee-jerk labeling could be because there are only four female speaking roles in the movie (one of them off-screen), and that most of the men behave like … well, men. A huge, thoroughly out-of-left-field (but very welcome) third act twist negates most of the alleged “toxic” qualities. This is the point where Martin (non-spoiler spoiler ahead) tips his hat to two David Fincher movies: “The Game” and “Fight Club.”
Charged with appearing in all but two of the movie’s 100 minutes, Cage spends close to half of that time performing solo, or only in the company of animals. This isn’t quite as easy as it might initially sound. Acting is mostly reacting; not having another human to interact with and moving silently to one’s own voiceover is something most actors can’t pull off with conviction. Cage’s performance here easily ranks among his all-time Top 10.
“The Surfer” isn’t a movie for all or most tastes. It’s blunt, raw, in your face, and unforgiving. It’s also strangely cathartic and freeing. Sometimes one has to be broken in order to feel whole and complete.
