The Interplay between The Rock’s primal over-compensating Nietsczean character and the latent homosexual archtype played by Effron brings to mind the process by which Hegelian material dialectics brings form to the amorphous potential of power dynamics in a totalitarian state system; that the Rock, an apt pseudonym for such an immovable superego figure, continually subjects Effron to progressively more perverse forms of sexual torture mirrors the crippling, stultifyingly, repetative but nonetheless erotically charged Real of “bay watching” i.e. the omnipotent Object of the Sea and the subjective figures drowing in its unexplored depths, and the father-signifier Life-Guard striving to pull subjectivity from the great blue churning Other of Stalinist derrived material hermenutics.
That the milleu of the picture is the ever-sunny, ever objectivity denuding beach-scape of Southern California, land of silicon bosoms and rictus grin visages sculpted from the raw pulp of human flesh at $30,000 a pop, throws the psych-sexual dialectic of the film into stark contrastm, especially when considered alongside the the obsessive cinematographic fondling and half-joking fetisization of Alexandra Daddario’s magnificent natural breasts. One cannot help but recall Lacan’s claim in his XXth Seminar:
“The subject is nothing other than what slides in a chain of signifiers, whether he knows which signifier he is the effect of or not. That effect- the subject – is the intermediary effect between what characterizes a signifier and another signifier, namely, the fact that each of them, each of them is an element. – “
I give the film as a whole 2 1/2 Stars.