A lot of British actors go to the States to play American characters in US shows, and they do such a good job that many are surprised to learn that they aren’t American at all; just think of Brits Freddie Highmore (The Good Doctor and Damson Idris (Snowfall) for example.

The same could be said for Australian Julian McMahon, who starred in the successful US show Nip/Tuck.

The Sydney born actor sadly recently died, aged 56, with this being one of his last roles, where he got to play an Australian, in this Australian thriller, opposite the iconic Nicolas Cage.

Arriving at Luna Bay is the Surfer (Cage), with his son (Finn Little). It’s a big moment for the Surfer, as despite his now American accent, he was born in Australia, and his grand-father actually lived in one of the houses overlooking the bay.

This is the reason for his return, as he’s recently put a bid in for his grand-father’s house, which has come onto the market, and he wants to take his son surfing out in the bay, so he can reveal his surprise pointing out the property.

Unfortunately for them, they get harassed by some locals, where they threaten them with violence, making it quite clear that strangers aren’t welcome. The Surfer attempts to explain the situation, but they aren’t having any of it.

An older member of their group, Scally (McMahon), who appears to be their leader, informs the Surfer that it would probably be best if he and his son turn around and find somewhere else to surf.

But with his family connection to the bay, the Surfer is determined to stay and surf there, which leads to some heated confrontations that soon take their toll on the Surfer.

Irish director Lorcan Finnegan (Vivarium, has less to do with surfing and more to do with localism, tribalism and masculinity.

It also finds the Surfer struggling with his mental health, almost spiralling out of control into madness, so it’s no surprise that Cage found the role appealing.

And certainly McMahon makes a good foil for him, playing the surfing guru/cult leader Scally who all the young male locals look up to.

Where it unravels itself however is with the Surfer; his journey is far from believable, and although Finnegan shoots it with the sense it could be an altered reality, the fact that the character falls apart so quickly, living in the bay’s remote car park as he does, makes it too far-fetched and ridiculous, as Cage walks around bare-footed and dehydrated for most of the film.

The director fairs better exploring the notion of tribalism amongst the young men, with gentle whiffs of Lord of the Flies, as the followers express both their masculinity and their sense of regionalism – defined as localism here, where they make it clear that theirs is a local beach for local people.

The film is also shot well cinematically, with the director getting quite technical, such as his use of a fisheye lens, to visually create the sense of someone suffering from a heat-induced madness.

It’s a role that certainly allows Cage to display his trademark intensity, which it has to be said, is wearing a little thin now as it appears that’s all we get from him recently, but his performance, like so many any others, transcends the fairly flimsy plot, that just can’t compete.

As far as McMahon is concerned, it’s kind of fitting that one of his last roles saw him return to his native land, as well as highlighting what a talent he was.