There are two really good movies about dance music DJs: Party Girl and It's All Gone Pete Tong. Maybe they're even great, minor classics in their own way. But neither of these were mass market hits in the States. Instead, they lie somewhere in a very small "Cult DJ Movie" section of some imaginary video store.

In the last five years, U.S. movie studios and TV networks have been snapping up EDM-centric scripts in an attempt to translate dizzying dance festival ticket sales into hits at the box office and on TV. Like most spec scripts, many of these projects will never see release and will be relegated to Development Purgatory, but the ones that have gotten lucky enough to go into production will soon be in the world. The first major offering, We Are Your Friends, starring Zac Efron and Emily Ratajkowski, just released an extended trailer.

There's a lot going on in these three minutes. In a summer where "Entourage" returns in movie form, We Are Your Friends knows it's an obvious "Entourage" knockoff: working class kid makes good; one of the main bros is called "Squirrel"; themes of "male friendship"; the enduring struggle of bros vs. hoes; the delicate balance of light drama and tit jokes. Amid his rise to fame, Efron develops super powers that allow him to gaze inside the thoraxes of hot dancers. It further mythologizes things we already know about millennial life in 2015: all you need is a laptop to be a successful DJ, it’s difficult for college grads to get jobs, everyone’s looking for that shortcut to success (in this case, a Beatport top download). The most telling detail is that it is unironically named for a Justice remix of a Simian track that broke out as a crossover hit in 2006. The director/co-writer is Max Joseph of "Catfish" fame who has directed a short film about the history of DFA, which functioned more as an artful infomercial for the label. It posits Justice and LCD Soundsystem as the main cultural touchstones of influence, which should tell you as much as you need to know.

Plot-wise, We Are Your Friends telegraphs that Wes Bentley, playing the role of DJ mentor, is going to mentor Efron’s character and will impart to the upstart an appreciation for listening to the sounds of the real world (like electric drills, birds, et al), which will in turn define his signature style. A style which includes starting his sets at 125 BPM and slowly ramping them up to a whopping 128 BPM, trying to match the tempo of his (Ed) bangers to the heart rate of a nubile 19-year-old. Bentley, we understand from the minute he appears, will ultimately clash with Efron over a girl; it’s The Color of Money set in the "Spring Awakening" now. While there is nothing wrong with that, save for the predictable and turgid plot, it feels like the writers' first exposure to dance music was the blog house crest of the mid aughts, which primed the kids for America's take on dubstep and, more generally, EDM. How much this movie does not know makes it instantly outdated, and makes you wonder how many years elapsed between when the script was written and when the film went into production.