Gold, 2022.
Directed by Anthony Hayes.
Starring Zac Efron, Susie Porter, and Anthony Hayes.
SYNOPSIS:
In the not too distant future, a drifter (Zac Efron) travelling through the desert discovers the largest gold nugget ever found. He must guard it from thieves amid harsh conditions and wild dogs while waiting for his partner to return.
Part of what makes Gold fascinating is its minimalistic and ambiguous depiction of an apocalypse that somewhat pushes the world back in time to the old west. The opening credits make mention that the story takes place in the not-too-distant future, but if it weren’t for old TV sets and other modern technological devices, you wouldn’t be faulted for assuming it’s some gold rush period piece dirtying up the handsome Zac Efron. Directed by Anthony Hayes (who also co-stars while writing the script alongside Polly Smyth), there’s not much insight into what has brought about this Mad Max reminiscent end of days or what Zac Efron’s nameless character is traveling for (beyond a vague compound job). There’s also not much of a need to explore those aspects.
Past that, Gold is a somewhat formulaic tale of greed, delusions, and betrayal, as the nameless face and his newly acquainted escort come across a large piece of gold in the desert. The quickly hatched-together plan involves one of them staying behind to protect the treasure while fending off anyone or anything that interferes, while the other heads off to find assistance hauling the massive chunk of wealth out of the ground. They already don’t trust one another but eventually settle on Zac Efron’s character staying behind after he receives a brief tutorial on SAT phones, collecting food, staying hydrated, and keeping the treasure hidden from anyone that might stumble across him.
In terms of efficient craftsmanship, Gold makes good use out of the environment of its Australian filming location (notably some making use of silhouettes and sundrenched heat), isolation, heat, and the opportunity to turn Zac Efron into a grimy and messy husk of his attractively cleanly self; there is plenty of value. There is also a graphic novel sheen to the gritty visuals, which feels appropriate given the apocalyptic backdrop. Zac Efron also assuredly gives an against type and impressive turn, as he battles everything from loneliness, rabid coyotes, a mystery involving a crash-landed plane, twin sisters wondering what the hell he is doing out there, and the cliché psychological deterioration. It’s unquestionably his quietest role to date, bringing many nuances to the role as outstanding makeup effects emphasize his hampered physical state of being.
The only shortcoming is that pretty much everything here, including the twist ending, has been seen and done before, leaving little room for genuine surprise. As a result, Gold occasionally comes across as tedious and passive, with the main reason to watch being Zac Efron’s gradual mental breakdown and his commitment to the performance. There’s nothing revolutionary about the themes being explored, and the world the story set in becomes a non-factor after the story switches gears following the first act. However, this is a solid and polished slice of mediocrity that Zac Efron does, ultimately, makes worth seeking out.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
