Gold
SCREEN MEDIAThe reintroduction of Zac Efron not as a tween-oriented popstar but as a bonafide actor working on challenging projects has been a welcome change in tone for the Disney star. Gold is a far stretch away from the days of High School Musical, and just as far away from his recent turns in Scoob! and The Greatest Showman. Right here is an independent feature that relies on Efron’s abilities as a dramatist. A great display of faith from director Anthony Hayes, but an inevitable one that would eventually iron the creases out of Efron’s relatively spotty filmography. The bleak and not too distant future is often a cumbersome and uneventful place, but Gold at least tries to exert some of the simpler horrors of the desolation and dirt sure to be found in the future.
It channels parts of Cormac McCarthy’s prose from The Road. A grim retelling of survival, a core understanding that life and death are a fine line. Gold imagines that well and with Efron left to himself for much of the film, Hayes’ technical merits and the very direction of the plot rely tremendously on the leading man. Efron is confident in this leading role, with the survivalist element paving the way to some loose philosophies and generalised warnings of trust in the unknown. They are handled well, are abject for the damned characters and open up interesting dialogues for audiences to bite at.
To do that means Hayes has effectively created an atmosphere for not just these simple characters but one that can engross an audience. The natural and often worrying comparison to be made with the rough edges of the survivalist Australian-based feature are to Mad Max or Walkabout, but Gold avoids both with there being an actualised goal rather than an emotive one. Gold is the goal and key to that is the distrust that wealth often brings. Hayes comments on that plainly and openly by keeping things detailed enough to engage with but lax enough to neither confirm nor deny suspicions of apocalyptic intent. Hayes' appearance alongside Efron in those important opening moments is crucial not just because it provides a foundation to the statements of the dog-eat-dog world. A little obvious, but it helps the thick layer of grime and dirt to be found throughout this feature.
Gold is not the grandest film nor the freshest breath of air, but it is fun. Crucially, it cements itself as a film that has poignancy and a point to present. Brutality is frequent and Efron is a superb draw for this sophomore outing behind the camera from Hayes. Gold may lay on that rust and grime extremely thickly, but the generally acceptable output is filthy characters represented by the obvious observations Hayes can present. It is under no impression of being smart, but Hayes is unwavering in his approach to horrific scenes, gory elements or the Godless wasteland these two men have found themselves in. A simple tale of trust and misrepresentation, Gold is no prize-winner, but it is an opportune, filthy, and interesting experience.