Baewatch

Baywatch is a show-boaty movie “sequel” to the 1989 original T.V. series that has a fully loaded cast to drag you into the theatre. Starting The Rock, Mitch Buchannon, who plays a Lifeguard that thinks he is some sort of law enforcement and Zac Efron, Matt Brody a washed up gold medal swimmer labeled “The Vomit Comet”. This summertime reboot had you crawling to the theatres just for the hot baby oiled filled cast that is thrown in your face, and its obviously deliberate.

The director, Seth Gordon, seemed to get in touch with his inner Micheal Bay when filming his rendition of Baywatch. Baywatch is one of Gordon’s better films when compared to his work with The King of Kong but is lackluster when paired up against his hit, Horrible Bosses, that later called for a sequel. Horrible Bosses was a stand-alone hit that had you playing it again and again while Baywatch is the type of movie where you watched it once and won’t really need to watch it again unless it’s to see the flashy lifeguard bods, which you can much rather find on the internet than sitting through a whole hour fifty-six just to get a glimpse of The Rock or Zac Efron.

I felt as this film was enjoyable, will I go nominating it for any awards? No, but I felt as if it wasn’t a total waste of my time as I got to see fireworks, explosions, and beach scenery. Let alone the comedic duo of Brody and Mitch keeps you in your seat. This is our generations Baywatch and I’ll tell you why. This series wouldn’t last with our generation as a T.V. show so they did what they could and condensed to hold our attention just long enough. No one would tune in every week to see boring cliché rescues and lifeguards who are just a gun away short from being police officers.

Baywatch however isn’t only a gaudy action-packed comedy about some lifeguards but it’s a work of art expressing the values of today’s society. With Baywatch being a “sequel” to the Original T.V. series it tries to appeal to the audience of today. In doing so through the objectification of the human body and sexy slow mo. The way of which Gordon uses the slow mo as an art itself, not over-using it to where one scene takes days to end but instead using it to capture the weight of the scene.

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