photo courtesy of impawards.com
photo courtesy of impawards.com

‘We Are Your Friends’: not as bad as many critics claim it to be

January 14, 2016

Max Joseph’s debut film “We Are Your Friends” hit the theatres during late August with a glittery, but deflated bang. Instead of the success that some predicted the movie might have, WAYF was sent into a downward spiral as one of the worst opening weekends for a major film in decades. Despite movie critic’s brash and exaggerated reviews, I found WAYF to be charming, a little predicable, but definitely not worth whining over.

“We Are Your Friends” has some major movie stars such as Zac Efron, the film’s protagonist, who portrays Cole Carter, a DJ from California’s San Fernando Valley trying to make it big in Hollywood. Alongside him is one of the screen’s newest actresses, Emily Ratajkowski, best known for her role as Nick Dunne’s (Ben Affleck’s) mistress in Gone Girl. She’s cast as the sophisticated but underaccomplished assistant/girlfriend, Sophie, to a majorly successful EDM disc jockey. Wes Bentley depicts this annoying, thirty something year old DJ, named James. Cole Carter’s posse (Jonny Weston, Shiloh Fernandez and Alex Shaffer) are witty and cute but Shaffer’s character, nicknamed “Squirrel,” has the most depth by far. If it weren’t for his contributions to the film, I’d be disappointed in Efron’s crew.

The plot line isn’t hard to follow along with: the four friends work as party promoters, occasionally selling drugs and trying to get Carter’s DJ’ing skills to the next level. Enter: James. James hooks up Carter with a studio to work in and the opportunity to open for him at big name music festivals. Predicably enough, this opportunity drives an interesting rift in the friendship. In the midst of this big opportunity, Carter messes it up by falling in love with the beautiful Sophie and jeopardizing his partnership with James.

To those movie reviewers who just didn’t seem to “get” it: you’re too old. Growing up with the EDM music scene and understanding Joseph’s style of filmography is something you just have to be born into. The movie definitely does not take a traditional film route.

There were some points in the film that tugged at my heart strings, and some points that undoubtedly made me want to “get out” of my hometown while I still can.

The general concensus is: see it if you’re young and into music. If not, don’t bother. It’ll hit you with a glittery, but deflated bang.

 

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