User reviews

That's the same headline I used for Longlegs. I continue to root for Cage and his resurgence over the past few years. I'm glad he's getting roles in theatrical movies. And I will still watch basically anything he's in.

The Surfer is a generally well-made movie and a stark contrast to the straight-to-streaming garbage he was busting out for a while. It has a simple premise that continues to evolve, with a decent amount of intrigue.

Overall, I wasn't a huge fan of this movie. It's a little too artistic and metaphorical for my liking. And I left the cinema a bit unsatisfied.

At least I had the pleasure of witnessing another memorable Cage performance.

(1 viewing, early screening Mystery Movie Monday 4/21/2025)

The ever-versatile Nicolas Cage remains one of cinema's most unpredictable delights. For some, his grounded turns in films like 'Pig' and 'Adaptation'- the latter giving us two Cages for the price of one- are unforgettable. For others, it's his unhinged, over-the-top performances that dazzle: 'Vampire's Kiss', 'Snake Eyes', 'Bad Lieutenant: Port of Call New Orleans'- there are too many to name. Sometimes, as in 'Mandy,' he manages both, veering from understated to full-blown berserk, giving each side of his fanbase exactly what they want.

In his latest, Lorcan Finnegan's 'The Surfer,' Cage plays the titular surfer, returning to his Australian hometown to repurchase his childhood home. While there, he decides to take his son to the idyllic beach where he spent most of his youth. All he wants to do is surf. However, after running afoul of the local beachgoers, what begins as a nostalgic trip turns into something far stranger- and far more intense.

Written by Thomas Martin, it's a wild, darkly comic ride, playing a bit like 'Wake in Fright' mixed with 'Point Break.' Entertaining and engaging, the film features many madcap moments Cage fans will love. However, its narrative isn't just an excuse for another of his crazy performances. Beneath the sun-drenched chaos lies something more pointed: a surreal descent into the warped rituals of masculinity. As in 'Wake in Fright', it explores a kind of sunburnt male madness- paranoia, posturing and violence, all unfolding in a setting that should feel like paradise but quickly becomes hell.

The titular surfer finds himself in a bizarre, increasingly hostile stand-off with a tribe of aggressive locals, where posturing, pride and dominance are the only accepted currencies of power. The absurdity of the situation lends the narrative a Kafkaesque quality: he's trapped within a set of unwritten social rules (about who gets to surf) that are both arbitrary and inescapable. It's a funny, yet unnerving satire of macho bravado with an absurdist edge, where one can't be sure what is real and imaginary.

Martin's characterisation is also deft. The central character makes for a fascinating avatar for wounded pride, entitlement and stubbornness. He can be seen as a kind of symbolic figure, or a stand-in for a particular strain of masculinity in freefall. The locals, meanwhile, are sketched with broad strokes- almost archetypal in their menace- but that works in the film's favour, enhancing its dreamlike, allegorical tone.

However, proceedings do falter in the third act. After so much unnerving build-up- where threat and absurdity are perfectly balanced- the climax feels comparatively tame. The ambiguity that made earlier scenes so compelling suddenly gives way to something more conventional. While the finale still carries a surreal energy, it doesn't land with the same dizzying, uneasy punch, and the film fizzles out instead of delivering a knockout blow.

Conversely, the visuals are stunning throughout. Radek Ladczuk's cinematography cleverly contrasts vibrant, sun-soaked hues with washed-out tones, underscoring the film's surreal and unsettling tone. Early scenes are bathed in the lively colours of turquoise waters and golden sands, evoking nostalgia and warmth. As the story progresses, these vibrant hues fade into desaturated, grittier shades, reflecting the protagonist's psychological and emotional unravelling.

This clash between vibrant and muted tones heightens the absurdity of the situation, amplifying the tension as it escalates. Sweeping wide shots, meanwhile, emphasize the expansive beach, while close-ups- particularly of Cage's increasingly unhinged face- capture the growing madness of the conflict. As things progress, this visual dissonance deepens the sense of unease, transforming the beach from a paradise into a distorted, oppressive landscape, blurring the line between the natural world and the protagonist's psychological chaos.

Further, Tony Cranstoun's editing strikes a perfect balance, shifting from breezy, dreamlike sequences to tighter, more frenetic cuts as the tension rises. Early scenes mirror the protagonist's carefree nostalgia, while the later moments of escalating violence and hallucination are marked by quick, disorienting edits. This contrast not only reflects the character's unravelling state but also deepens the sense of entrapment, netting both the surfer and the audience in an increasingly hostile, surreal world.

However, had the talents of Nicolas Cage not been secured, the film could easily have faltered. He is perfectly cast, bringing an escalating mania to the central role that swings from quietly wounded to righteously unhinged. For the most part, he plays it straight, anchoring the film's absurdity with an oddly sincere intensity. However, when it's time to go full Cage, he doesn't hold back. It's that perfect mix of grounded chaos and unrestrained weirdness that makes him indispensable- to this film specifically, as well as to cinema in general.

The supporting cast lean into the heightened tone, with stellar performances all round. Of particular note is Julian McMahon, who shines as the insidious surfer-dude-cum-cult-leader Scally, who is as sinister as he is pretentious. Never setting a foot wrong, McMahon makes for a magnificent sun-drenched menace, delivering his lines with the smug cadence of a man who has read half a philosophy book and decided he's God. His scenes with Cage crackle with a warped, alpha-male energy- a battle of egos on waxed boards.

Lorcan Finnegan's 'The Surfer' is not just another entry in the ever-expanding Cage canon of craziness- it's a sunburnt fever dream of ego, absurdity and surf etiquette gone violently wrong. With its warped take on masculinity, stunning visuals and a central performance that lands somewhere between Hamlet and a man shouting at seagulls, it entertains even as its final act wobbles. In other hands, it might've been a mess. With Cage, it's divine chaos. So, despite some choppy waters, 'The Surfer' still makes waves.

Because of the trailer I expected an almost Liam Neeson style thriller of bad guys at the beach terrorizing a father and son as they bond over surfing.

This is a very different film than that.

This film is surreal, psychological, introspective, and a little bit funny. You know as much of the plot as you need to, and other reviews cover the details, but I'm here to tell you to not expect a typical action or thriller.

Above all, the cinematography shines. More than the plot, the experience of seeing and hearing this movie is so compelling that I recommend seeing this in theaters. Absolutely a well made film, technically speaking.

It does not hold your hand as you're left stranded on the beach with a delirious Nic Cage. I asked a lot of questions as events unfolded, feeling as sunbaked and dehydrated as an American in the Australian sun, but I enjoyed every second of it!

This was the first film I caught this year as part of the London Film Festival at the Prince Charles Cinema in Leicester Square. I've only ever been to this cinema previously to watch previous LFF films and I cannot remember enjoying a single one; the memory that sticks out to mind the most is the pain of watching Encounter with Riz Ahmed (REDACTED comment about members of the audience because it was too "mean"). Suffice to say, my expectations were low although admittedly through no fault of the film.

The film is about a father (played by Nic Cage) taking his son to surf at the same Australian beaches he used to in his childhood. However, he is prevented from doing so by a local gang of manly and sunburnt surfers who humiliate him in front of his son.

I can't remember the last time I enjoyed seeing someone suffer - on screen - this much. It must be a similar experience to sitting in the colosseum and seeing gladiators brutally harm each other, all for your entertainment. The amount of punishment, deprivation and gaslighting that Nic Cage's character suffered throughout the film is only matched by the sheer perseverance and desire he had to ride those sweet waves.

Despite the constant abuse being shown on screen, the film sustains a comedic and dreamy quality throughout. The soundtrack with its use of chimes and the camera with its play on focus helped elevate those scenes with a dehydrated Nic Cage to a place straddling between a delirious dream and a sweaty nightmare. Sometimes the film crosses into a point of hilarious ridiculousness; there is one scene where a dead rat comes out of someone's pocket and is used as a weapon.

This is one of those recent and great films with Nicolas Cage that do hit the mark. It's very funny, it sometimes feels like a comedy play due to its very small number of locations and the film making is interesting and competent, something that sometimes seems neglected with comedy films.

One last thing to note is that the film has a small role played well by Justin Rosniak who I've enjoyed recently in Australian shows like Mr Inbetween and Colin from Accounts. Apparently also, Wake in Fright was a big influence to Lorcan Finnegan in the making of this film, one that I'll have to check out soon.

The story unfolds with Cage arriving at a beach that holds great significance to him. However, when he's ridiculed and forbidden from surfing there with his son, it triggers a series of events that progressively detach from reality, leaving the audience to question even the reality we a witnessing.

One aspect I appreciate is the exploration of the sunken cost fallacy, the tendency to persist with an endeavor we've invested in, even if the current costs outweigh the benefits. Having recently faced a similar decision, I understand how challenging it is to step back and accept a loss.

Watching this in the GL Theatre with Cage and the rest of the crew was a very enjoyable experience.😄

Greetings again from the darkness. There are a few actors who regularly take on roles that leave us hoping they are nothing like those characters in real life. Willem Dafoe comes to mind, but the president of that club would be Nicolas Cage. Over the last 18 years or so, no actor has more often regaled us with emotional and mental unraveling on screen. Keep in mind it's been thirty years since he won his Oscar for LEAVING LAS VEGAS.

This time, it's the second feature film from Lorcan Finnegan (VIVARIUM, 2018) that finds Cage's titular character on a downward spiral. The script comes from Thomas Martin, and opens with a father (Cage) driving along the Australian coastline, preaching surfer philosophy to his son (Finn Little, THOSE WHO WISH ME DEAD, 2021), who's a bit miffed that he got dragged from school to hear the lecture. It turns out dad wants to spend the day surfing with his son so he can show him the house he's purchasing. It's the cliffside family home once owned by his grandfather.

It all sounds lovely until two things happen. The real estate deal is in jeopardy because Cage has been outbid, requiring him to raise an extra hundred grand fast. More dramatically, when the father and son hike down to the beach carrying their surfboards, they are accosted by locals who live by the mantra, "Don't live here. Don't surf here.". Cage explains that he used to live there, is buying a house there, and just wants to surf with his son. The group of 'Bay Boys' threatens to get physical, sending father and son back up the hill.

These bullies have created a 'localized' culture at Luna Bay through inspiration served up by their cult-like leader, Scotty "Scally" Callahan (Julian McMahon, "Nip/Tuck"), a former classmate of Cage's character. Now most reasonable folks would just pack up and leave, but this is a man on the edge. His divorce is pending, his relationship with his son is shaky, his boss is pressuring him to finish a project, and his dream real estate deal is crumbling. Cage is a frazzled middle-aged man, and we are about to witness things get much worse for him.

The patented Nic Cage downward spiral involves a local homeless man (Nicolas Cassim), a public restroom, a kiosk, and frequent run-ins with the 'gang' of local surfers. Even the local cop (Justin Rozniak) tries to encourage Cage to give it up and head out. However, the inner demons of a man who has worked hard for a specific goal that is now within grasp - or maybe just out of reach - begin to take over. This may seem like the beginning of a breakdown for Cage's character, but the truth is that it began long before.

Is this psychological, psychotic, or psychedelic? We are never quite sure, especially as the sun beats down on Cage and he has flashes of childhood trauma ... a precursor to where this is all headed. Are these nightmares or hallucinations? It plays out kind of slowly, but we do enjoy the stylish approach of director Finnegan and cinematographer Radek Ladczuk (THE BABADOOK, 2014), whose visuals juggle the blistering glare of the sun, sweat and stains on Cage, and the stunningly beautiful blue ocean. Additionally, it's Australia, so you know there will be a snake, as well as other critters like bugs, birds, a rat, a porcupine, and dogs. As Cage's material status possessions are stripped away (phone, watch, car, clothes), it is all accompanied by composer Francois Tetaz's music that can be described as hypnotic or ethereal. There is an ending that many might take issue with, but after so many times thinking "Just leave, dude", I was willing to take whatever happened. How long until a theater runs an entire festival of Nic Cage Midnight Movies?

Opens in theaters on May 2, 2025.

There isn't any genre Nicholas Cage hasn't tried, be it action, horror, or just plain odd, like this entry that feels a bit like a cross between his remake of The Wicker Man and that old British series The Prisoner. Nic plays a realtor taking his son surfing out on an Australian beach, with hopes of securing his father's old property nearby for them to live in. But through various time slips, increasingly desperate calls to his broker friend, and encounters with bullying kids, uncomprehending locals and an ominous, Reaperesque interlocutor who brings up grim facts of his past, he slowly loses his moorings and becomes a stranded, demented wanderer of the area, insisting on some version of life that doesn't jive with reality. The camera work and soundtrack are like Tarantino at his most intentionally kitsch, but as The White Lotus has shown the wilderness of middle-age is a fertile field of sad psychological exploration. Thank you Nic for yet another bold choice in a jaded cinema era of tired franchises, endless reboots and mind-numbing tripe.

I went into The Surfer hoping for a raw, introspective psychological drama, teased by a tense, visually compelling trailer. What I got instead was a slow-burning, empty exercise in atmospheric indulgence that left me not with awe or insight - but with regret.

Yes, Nicolas Cage commits - as he always does - and the cinematography occasionally flirts with something sublime. But that's where the merit ends. This film is all surface, no substance - a pretentious mirage of profundity. It meanders through barren philosophical terrain without ever planting anything meaningful. The script hints at existential themes, but never explores them. Instead, we're trapped in an increasingly repetitive spiral of meaningless encounters and monologues that feign depth but deliver only tedium.

Worst of all, The Surfer is emotionally hollow. You're not drawn into the protagonist's world - you're stranded there, watching a man unravel for reasons that feel contrived and underdeveloped. The pacing is glacial, not for the sake of contemplation, but seemingly to pad out a narrative that simply isn't there. By the time the credits roll, there's no catharsis, no revelation - just a lingering sense that your time was stolen under false pretenses.

The trailer is misleading, suggesting a taut psychological confrontation. In truth, the film unfolds like a student's first attempt at arthouse cinema - aesthetic for the sake of aesthetic, lacking coherence, lacking heart. I left the theater not stirred or reflective, but disillusioned and annoyed that such a promising premise was wasted so thoroughly.

In short: The Surfer is all waves and no tide. It poses as something deep, but never dares to dive in.

Being married to an Australian surfer in his late sixties we found this movie pathetic. The script, the culture, the acting. There was nothing good to say about this movie except Nicholas Chae managed to see most Australia native animals. A thing that many Australians would never see.

My husband grew up surfing through the 60s and 70s and still surfs today. It is sad to see this movie represent the Australian culture this way. It may be what happens in America. Yes there was localism, bullies and drugs, but never to this extreme. To make it look like a cult initiation is so far from anything I have ever experienced.

An hour and a half of our lives we will never get back.

I don't know who was under more psychological torture during this film, Nicolas Cage's character or me in the audience. Either way, it makes for a painful but entertaining affair that comes together nicely in its final act.

The film follows Cage, known simply as 'the surfer', as he enters a battle of wills with a gang of surfers who don't want him surfing their waves. Having not seen the trailer for this film, I wasn't sure what to expect, and that brief synopsis doesn't give too much away either. What follows is a torturous, sometimes funny, dark, and stressful journey that will grip you throughout.

As with any Nicolas Cage film, it is fair to say that he puts his very distinctive stamp on it. His performance alone makes the tone work, as he creates a compelling character and performance. As always, his emotional, funny, slightly overacted approach makes this film so watchable. Without him in the lead role, this film could easily have fallen apart. Whether some of the stranger choices were added post Cage's casting, or whether they were his ideas, either way it's hard to imagine anybody else pulling this off so well.

The film maybe does feel a little long due to the stress inducing gaslighting that forms most of its middle section, and some parts of it feel a little too inevitable, but I have to admire the unique nature of this film and how it had me totally hooked.

My daughter took me to see this movie as an 02 freebie and we weren't sure what to expect. We still weren't really sure what we thought after we had seen it either but it wasn't good. I am an avid movie fan and thought the acting, cinematography and location were all superb. There is definitely an interesting idea of a story somewhere in here but it never really manages to emerge. The movie seems to drift between several different possible storylines and or outcomes. You keep hoping there will be a moment of revelation that explains it all, but that just doesn't really happen.

My advice, would be don't bother, there are better things to do with a couple of hours nearly, like cleaning an oven.

'The Surfer (2024)' is an incredibly frustrating and unpleasant experience filled with sun-baked surrealism, intolerable cruelty and men doing anything to avoid going to therapy. This bizarre little thriller starts out as if it's going to become a typical revenge actioner, but soon transitions into all-out horror territory as our determined hero constantly clashes with the unreasonable locals of his soon-to-be-local beach. All he wants to do is surf like he used to as a boy, but he soon begins to lose everything he has in his quest to recreate the peace of his youth. The film really nails the feeling of slowly losing your sanity, and your self, in the brain-melting heat of the Australian sun, slowly becoming more and more claustrophobic as we find ourselves further entrenched in the slowly snapping psyche of our put-upon protagonist. At once desperate for him to cut his losses and hopeful for him to get the upper hand, we unwillingly follow Nic Cage's character down the rabbit hole until he - and we -start to doubt everything around him. What's initially a simple premise soon gives way to a total nightmare scenario that really gets under your skin, getting worse and worse with each passing poor decision or act of malice. Although things take a bit of an unexpected - and arguably less interesting than promised - turn towards the finale, the flick's immersive unhinged atmosphere remains remarkably cohesive for its entirety. It's merciless, constantly keeping you off balance and never quite doing what you expect it to. As such, even when it's at its least successful, it's still interesting and engaging. It's very well made, with saturated cinematography and confident direction that never settles for an easy or anticipated shot. You can practically feel the heat pouring out of the screen, the sweat forming on your brow as you buckle in for another extreme close-up or hallucinatory flourish. Technically, it's almost perfect, which makes up for most of its narrative missteps and thematic uncertainties. It's a surprisingly strange experience that keeps you on the edge of your seat and gritting your teeth. It isn't nice, but it's undeniably effective. It's a strong effort.

"Surfer" is a baffling cinematic misfire with a weak script and a storyline that starts off confusing and spirals into outright absurdity. Nicolas Cage delivers a performance that feels more unhinged than compelling, amplifying the film's overall strangeness rather than anchoring it. The plot lacks coherence, the dialogue is awkward, and the emotional beats fall flat. Even the visuals and pacing fail to redeem the experience. What might have aimed for surrealism ends up feeling unintentionally unsubstantial and painfully self-indulgent. Save yourself the time and money-this one isn't worth the watch.

To be very frank, The Surfer is one of the most bizarre films I've ever had the pleasure of watching. Rarely have I left a theater with so little understanding of what I had just seen-and yet, with such a strong feeling about it. This film expertly blends thriller, anxiety, and disorientation to create a deep sense of paranoia and gaslighting that mirrors the experience of its unnamed protagonist.

At the center of it all is Nicolas Cage, who once again delivers a performance that is both completely unhinged and weirdly grounded. His portrayal of the titular surfer is over-the-top in a way that only Cage can deliver, adding unexpected depth and emotion to a character who might otherwise feel like a cipher.

On my drive home, I tried to piece together what story The Surfer was trying to tell. I found myself frustrated-how could a film with such a seemingly simple setup leave me feeling so mentally scrambled? But then it hit me: The Surfer isn't a movie meant to be "understood" in a traditional sense. It's a visceral, disorienting experience. It doesn't ask to be followed-it demands to be felt.

This is a film that can be interpreted in countless ways. Perhaps it's a surreal allegory for the dangers of nostalgia, particularly the kind that grips the millennial generation. Or maybe it's a brutal metaphor for the dehumanization of the homeless. Whatever it is, The Surfer reveals something different to each viewer.

It's not an easy film-but it's certainly unforgettable.

The premise of a divorced man hoping to redeem his past tragedies and mistakes through the purchase of his idyllic boyhood home, juxtaposed against a tribe of territorial local surfers that rebuff his efforts to reclaim his place in both a physical and existential sense, is a really great one.

Unfortunately the great premise, vibrant cinematography, and lush soundtrack are let down by clumsy execution and editing in The Surfer. The man's actions during his simultaneously slow and rapid descent into madness are not very well motivated within the story, and the plot turns in the final act feel largely unearned. This is borne out in the confusion evident in many of the reviews for this movie.

I had to think about this movie a bit before coming to my own conclusions. Sometimes this is good, such as when a movie's plotting or themes are intricate enough to deserve or inspire additional reflection after viewing. But other times it just feels like the movie is unnecessarily fighting you. The bones for a great story are present throughout The Surfer right until the very end, but I had to really ignore a lot of the movie to find them. I imagine that if I were to read the script, I would like it more than the movie itself.

The Surfer can just be enjoyed as sort of a gonzo, psychedelic thriller if you don't care to think about the characters and themes much, as it has some wonderful technical aspects. But you also might just find it frustrating, as the story has some great ideas but requires tolerating several clumsy aspects in its execution.

We have it! Nicolas Cage returns to the big screens. There were a few successful movies and a few less successful ones, but what about The Surfer? Okay? Wrong? See for yourself!

The Surfer is the latest film directed by Lorcan Finnegan, written by Thomas Martin. It tells the story of the titular surfer, played by Nicolas Cage, who takes his teenage son to a beach in Australia - a place where he once grew up. He wants not only to serf there, but also to show his son the house he plans to buy. This house once belonged to the grandfather of the main character and many memories are associated with it.

Unfortunately, the plans are thwarted by a group/gang of local surfers who treat the beach as their property. They are not fond of "aliens" and create something like a sect. Their leader is the charismatic Scally (Julian McMahon).

Every time the main character tries to enter the water, someone from the group throws a sentence in his direction: "Not from here? Don't surf here," spoken with a typical Australian accent. Anyone who is not "from there" and just wants to enjoy the beach hears it.

The character played by Cage does not give up. He just wants to carry out his plan - to buy an old house and surf on his beloved beach. Although he explains that he grew up in this place, the locals do not want to listen to him. Over time, his situation deteriorates and he becomes a victim of psychological persecution by the "sect", which leads him almost to a breakdown. But Cage does not give up and from a rich businessman with a luxury he becomes homeless, fighting for survival and the right to be on the beach.

Although the entire action of the film takes place practically only on the beach and in a nearby parking lot, the creators have squeezed everything possible out of this location.

The film does not drag on, but on the contrary - it draws you in from the first minutes. Admittedly, at first I had a problem with catching myself, but after a few minutes I went straight. I really don't want to reveal more about the plot, because The Surfer is one of those movies that is best to go "blind" without watching the trailers. I didn't know anything about it myself - I didn't even know the species - and I don't regret it. If I knew more, the fun would be much less.

At first glance, the plot may seem meaningless, but if the viewer looks more closely, he will discover deeper motifs and hidden meanings in it. The Surfer is a grotesque-kitschy survival in which Cage constantly "tramples on the rake" and the camera follows him in a chaotic way - we have a lot of zooms on faces, crabs, waves, sun, etc., and all this builds a specific atmosphere.

It is also worth mentioning that Radoslaw Ladczuk(polish cameraman) , is responsible for the photos. Thanks to him, the film at times resembles a narcotic trans - which in my opinion was intended, because such an atmosphere fits perfectly with this story.

When it comes to the cast, you should be pleased to applaud the creators for choosing the right cast. Most of the actors are really good. Nicolas Cage himself may not play the role of life here, but you can see that he is trying. It's not the level of the Pig or the longlegs, but it's still solid.

To sum up: the latest film with Nicolas Cage is an intriguing, grotesque trans with horror elements. It is certainly not for everyone, but it is worth giving it a chance and seeing if it will come to you. I personally liked it very much - both in terms of directing, script, and acting.

Literally this is the worst movie I watched in a while. The story is very bad, the last 30 minutes I speeded up the movie and I couldn't stand it. I wish I enjoyed it but unfortunately it is very disappointing. I don't often write movie reviews, well I love Cage but I'll say it again (don't watch the movie it's a waste of time) Thank God it's not two hours long, otherwise I might stop watching movies forever. The annoying thing about this is that I had a day off from work and I told myself it was time to relax, but now I'd rather work than relax. Believe me, no more, no less, every word I said is spot on.

The role of suffering produces the best performances in Cage. Et voilà. A highly anticipated film, one that looked like 'A man sees red'. But things turn out differently. Hot becomes sweaty, becomes a fever dream, pulls you into a maelstrom of emotions, humiliation and suffering. At some point, you no longer know who and what you are following, and so you descend further and further, downwards in the maelstrom of this strange descent. The next surprise comes at the bottom. Whether you would have liked Charles Bronson better is up to you to decide, but if you're looking for a deeper swell, this is definitely the film for you. Contrary to expectations, this overdose of toxic masculinity has a cleansing effect on the self-destructive film landscape, great performance by Julian McMahon, this courage to go off the beaten track no less. The viewer is probably left baffled, but definitely confused and with plenty of room for interpretation. Yes, there was a time when films were still thought-provoking.

This was an unbelievably stupid movie. Made in a beautiful part of the world it makes Australians look stupid - they are not - and throws in token Australiana creepy crawlies into the movie ad nauseum even when they are unrelated to the plot.

So many unanswered questions and typos things. Why didn't he have accommodation if he has come from the USA to a remote part of the world?

Why did he drink obviously tainted water?

Why did he get injected with drugs?

Why don't he clean the water fountain to access the clean water?

Since when do surfers get tribal tattoos?

Why was the lead surfer so old?

This is a couple hours of my life I will never get back.

Let me preface this review with my age. I'm 60 so I was raised watching Rod Serlings "Night Gallery " and " Twilight Zone"

In addition I've read the works of Stephen King. This is not a Liam Nieeson revenge get the bad guys movie.

It is a glimpse into a man's downward spiral into delusion and insanity. All in the beginning is not what it seems but will be revealed in the end.

Perchance the dream, form an alternate reality, contemplate all of the forks in life's road and choices that we've made on our path to now.

This film is not for everyone. The cinematography to is great and the feel is of something from the 70s or 80s.