Synopsis: Caught between a forbidden romance and the expectations of his friends, aspiring DJ Cole Carter attempts to find the path in life that leads to fame and fortune.
Stars: Zac Efron, Wes Bentley, Emily Ratajkowski, Jonny Weston, Shiloh Ferhandez, Alex Shaffer, Jon Bernthal.
Director: Max Joseph
Running Length: 96 minutes
Trailer Review: Here
TMMM Score: (7/10)
Review: The few times I saw the preview for We Are Your Friends, my head hurt. Lots of flashing lights, quick edits, pounding music, and Zac Efron feeling the beat in a tank top under the California sun gave me little hope that the finished product would amount to much. Then early reports indicated that the film was like Flashdance meets Saturday Night Fever with a dash of Cocktail…and I was officially sold. While the film starts off pretty rough for the first half hour or so, there’s something ultimately winning about it.
Efron (That Awkward Moment) headlines the picture as Cole, a DJ with a heart of gold struggling to break into the big leagues. Living with a buddy (Jonny Weston, an annoyance in the beginning before graduating to valued asset) and working as promoters of a local club with two other friends (Shiloh Fernandez, Evil Dead, and Alex Shaffer) they live for the Thursday nights that are their reward for a job well done.
But, as in all movies with similar themes, they all dream of something more and the chance to “get out” and make something of themselves. While the others all have admirable aspirations, it’s Efron that gets the focus as he makes the move from clap trap backroom DJ to working posh pool parties and headlining a summer music festival with his music.
Now, I know absolutely nothing about the DJ culture but I do understand that it’s more than just working two turntables and knowing when to scratch and mix the tunes together. And, to its credit, the film makes an attempt to explain how it all works, but it’s not enough to clue most audiences in on what exactly is happening when Efron intensely turns one knob up high while turning another one down low. The only thing we know, from Efron’s brow sweat and dilated pupils, is that it’s important stuff and he’s very good at what he does.
Being mentored by a DJ that many feel has sold out (Wes Bentley, Interstellar) has repercussions for the young upstart. He learns to follow his internal turntable to churn out better music, yes, but also falls in love with the DJ’s assistant/girlfriend (Emily Ratajkowski, Gone Girl, Entourage, with lips like life preservers) in the process. At the same time, he’s supporting himself by working for a shady real estate investor (Jon Bernthal, The Wolf of Wall Street), whose methods put him into an even greater emotional spiral.
What’s nice to report about the film is that it’s probably Efron’s best performance to date. Ignoring a flawed attempt at emoting near the end (must every Efron movie feature him with tears in his eyes?) Efron ably carries the picture to success and seems at ease with the complexities of the DJ scene. Passages between Efron and Bentley are the best of the bunch, with both actors doing solid work and never coming off as merely pretending to understand what they’re talking about…but actually believing it.
Music obviously plays a big part in Max Joseph and Meghan Oppenheimer’s script and with Joseph directing, the film feels alive with rhythm from the first frame until the last. Again, I couldn’t tell you a good beat from a bad one but there are enough music consultants and musicians listed in the credits that I’m confident the movie hits all the right notes. Brett Pawlak’s cinematography may favor lingering on sweaty body parts a little too much (one sequence covers every inch of Ratajkowski’s flesh several times over) but generally it’s a nice mix of California sun and hypnotic club lights.
Owing a lot to the aforementioned Cocktail, the movie may find itself becoming a guilty pleasure down the line. It’s relatively inoffensive and pleasant enough to not hold too many of its faults against it, buoyed by Efron’s considerable charisma and Bentley’s commanding performance.