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'We Are Your Friends': Thursday Night Fever
By Michael S. Goldberger, iBerkshires Film Critic
04:15PM / Thursday, September 03, 2015
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Popcorn Column
by Michael S. Goldberger  

Warner Bros. 
Zach Efron comes of age to the beat of electronic dance music in 'We Are Your Friends.'

Cole Carter, an aspiring DJ played by Zac Efron, doubtfully knows what a bildungsroman is, even though that's what he's experiencing in director Max Joseph's "We Are Your Friends." Quite simply, it's a subgenre of the good old coming-of-age story, wherein the protagonist, usually in his late teens or early twenties, forms his view of things. In filmdom, we've been taking note of this psychological transition ever since Andy Hardy popularized the notion back in the fictional town of Carvel. Like the carnival barker said, "It's never new, it's never old."

That's the great thing about it, and somewhat of a saving grace for director Joseph's synthesizer-infused delve into the EMD (electronic dance music) scene, a la the San Fernando Valley. While the timeless quandary, "What's to become of me?" doesn't change, each update of said life passage interestingly apprises us of a subculture perhaps eluding our radar. If Judge Hardy were Cole's confidant and counselor, his normally unflappable demeanor would surely be challenged by the lad's generation-specific growing pains: i.e., rampant drug use and loose sexual mores.

out of 4

There is a nervous, über frantic pace to the saga, consistently fueled by precipitously dangerous behavior and emulated in sound by the musical tracks that comprise the protagonist's raison d'être. Hence, those among the Great Unwashed who haven't been making the club scene of late are certain to be a tad abashed, especially if they've forgotten the analogous perils they themselves flirted with when they, too, were immortal. Experiencing such nostalgia is a side benefit of being the only one over 20 in the theater.

While the niche audience for whom this film is intended may not be impressed by the exaggerated mirror of what they already know, budding cineastes among them may give director Joseph credit for his creative attempts to ameliorate the inherent cliché. A comfortable notch above music video style, the interspersing of meditative images in the mainly linear telling of the tale, mixed with a cinéma vérité indulgence, makes for invigorative movement.

Otherwise, this is but a star turn for Efron and his supporting worthies, all of them evincing talent belying the stereotypes that should lead to better roles. Insofar as the film's cause célèbre tracks to which anyone who's anyone genuflects in total teen reverence, don't look here for an opinion. I only liked it when it approximated what I consider to be real music, and enjoyed the process by which Cole, with the help of an acclaimed DJ/mentor, achieved his sounds. Check with your resident music mavens, none of whom will be in agreement, for an informed appraisal.

That noted, for folks who couldn't care less about electronic music or what the latest, temporarily lost generation is up to, there is a star-crossed love story, replete with traditional deceit and angst. Sophie, the college gal smarter and more sophisticated than Cole, just happens to be the aforementioned guru's main squeeze. But while there are more things in Heaven and Earth, Horatio, than are dreamt of in your philosophy, this hackneyed triangle isn't among them.

Still, Emily Ratajkowski is mildly exotic as the babe of contention, and Wes Bentley is solid as the older, world famous D.J. Jaded and seeking legacy, he deigns to share his knowledge with the talented novitiate. Complementing these themes whilst updating cinema's idea of restless young men looking to make a place for themselves in the world, Jonny Weston is appropriately frightening as the group's loose cannon; Alex Shaffer is familiar as Squirrel, the philosophical, funny one; and Shiloh Fernandez is Ollie, torn between financial reality and his love of acting.

Hop into a time machine and you can plug these characterizations into any era you wish, with only slight modification. Just be sure to land on the right day of the week. Whereas it was "Saturday Night Fever" (1977) for Tony Manero (John Travolta) and his gang, Cole's crew lives for Thursday evenings, when our would-be superstar plies the notes in the side room of a popular club. Of course the invite stands only as long as their P.R. efforts populate the place. They dance, they drink, they love, take drugs and hopefully don't kill themselves in the process.

Such are the fires of spring, circa 2015, as adapted by Meaghan and Joseph Oppenheimer from Richard Silverman's story and brought to the screen in Max Joseph's directorial debut. Although there'll be no Oscars, there is enough of a curiosity factor owing to the film's shard of sociological interest to warrant placement in a time capsule, but only if there's extra room. However, be warned. Parents who mistakenly happen into a theater showing "We Are Your Friends" may feel they have met the enemy of all their well-intentioned efforts.

"We Are Your Friends," rated R, is a Warner Bros. release directed by Max Joseph and stars Zac Efron, Emily Ratajkowski and Wes Bentley. Running time: 96 minutes

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