*Thrash* is, basically, a cross between *Crawl* and *Jaws* that is suffering from an identity crisis. Look: if you’re going to make a shark movie, I am contractually (well, not literally) obligated to mention Steven Spielberg’s classic, because it is simply excellent. It’s dramatic, it has political undertones, it showcases some of the finest filmmaking techniques your eyes have ever beheld, the performances are fantastic, and it features a shark that malfunctioned so often that it forced the film crew to shift their approach to building suspense—thereby turning it into one of the most harrowing films of all time. Many films—including its own sequels—that came afterward tried to emulate its success and failed. Hence, they had to resort to mutated, CGI-generated animals to achieve their objective.
Although I occasionally enjoy films like *Under Paris* or *The Meg*, I yearn for those creature features that go back to basics, maintaining a small scale and high tension. That’s why I enjoyed *Crawl* and *Tuu Yaa Main* so much (the original Thai version; *The Pool* wasn't very good, truth be told). But, you know: crocodiles are crocodiles and sharks are sharks; they aren't interchangeable, and crocodiles (or alligators) don't necessarily quench that thirst for thrills that sharks ignite (there’s just something about that fin that utterly fascinates me). That’s why I was excited about *Thrash*, as it appeared to have a limited budget and featured ordinary people facing off against ordinary sharks. So, where did it go wrong? Let’s find out.
Director: Tommy Wirkola
Writer: Tommy Wirkola
Stars: Phoebe Dynevor, Djimon Hounsou, Alyla Browne
*Thrash*, by Tommy Wirkola, follows three groups of characters in a coastal town called Annieville, which becomes a shark-infested zone after Hurricane Henry destroys the floodwall. The first group consists of foster siblings Dee, Ron, and Will, who live with their foster parents, Billy and Rachel. When a flood sweeps through their home, Billy and Rachel are killed—apparently—by sharks, forcing the siblings to devise a way to stay alive until help arrives. The second group is made up of Lisa and Dakota. Lisa is a pregnant woman who becomes trapped in her car while attempting to flee the town along with the other evacuees.
Fortunately, the spot where Lisa gets stuck happens to be near the home belonging to Dakota, who hasn't been able to escape either due to her agoraphobia; she helps Lisa get out of her car and take shelter in her bedroom. Last but not least, there is Dale—a marine biologist and Dakota’s uncle—who is heading toward Annieville with a small team (Brian, Doug, and Joe) in order to get Dakota out of the predicament she finds herself in. Well, he and Brian also have a secondary objective: they have been tracking a great white shark named Nellie for the past few years, and it appears she is currently in Annieville as well. So, it isn't just a rescue mission, but a shark-tracking mission, too. And if the problem with the plot isn't clear yet, allow me to underscore it: there are simply too many subplots.
The best part of *Thrash* is the subplot involving the Olsen foster home, as it centers on a flood—and some sharks—that ultimately prove to be a blessing in disguise for a trio of children who were being emotionally, and likely physically, abused by their foster parents. Consequently, watching those wicked creeps get devoured by the sharks in the most comically absurd fashion—while the children bond together as a unit—proves quite satisfying. Yes, the thematic resonance falters a bit when the children are forced to kill the very sharks that just saved them, but it remains entertaining nonetheless. The cinematography, lighting, editing, dark humor (Dee’s question about whether they would need new adoptive parents gave me a good laugh), and the performances by Alyla Browne, Stacy Clausen, and Dante Ubaldi combine with the fluidity of a well-oiled machine. And then there is the rest of the film, which turns out to be simply boring.
There is a certain thematic thread centered on motherhood that links Dakota, Lisa, and Nellie, given that Dakota lost her mother, Lisa is about to become a mother herself, and Nellie is also pregnant. However—much like in *Tu Yaa Main*—the idea that a pregnant animal would instinctively save a pregnant human doesn't strike me as making much sense, especially when there are literal human rescuers already on their way. Dale’s entire subplot is a complete waste of time, as all the characters do is spout expository facts about sharks and meteorology. I suppose marine biology and meteorology enthusiasts will find that entertaining. However, an average person like me needs all that content presented in a more engaging format.
I’m pretty sure this wasn’t an easy movie to shoot, given that the actors spend 99 percent of their screen time soaking wet. I know that productions have to keep the water heated so the cast and crew don’t die of hypothermia; therefore, it’s not quite as freezing as it looks on camera. However, if anyone thinks acting in warm water for days on end is a luxury, I invite them to try it for themselves and then tell me about the experience. So yes, despite my criticisms regarding the plot, I applaud the cast and crew for executing the action and dramatic scenes so credibly, delivering such an immersive experience.
I think Netflix is desperate to land its own shark movie franchise. Following the success of *The Meg* films, they released *Under Paris*; and while it didn’t win over critics or audiences, it captured the attention of enough viewers to justify a sequel. The first film came out in 2024. It’s now 2026. Where is that follow-up? I don’t know. Now we have *Thrash*, which feels like a very blatant attempt to emulate the success of the *Sharknado* movies. I don’t know if this will end up becoming a major franchise—even though they clearly want to produce more *Thrash* films, judging by that final hook scene—but if they do manage to make more movies about sharks and hurricanes, I hope they really dial up the camp factor.
I appreciate the homages to *Jaws*, but if someone wants to watch *Jaws*—or *Crawl*, for that matter—they’ll simply watch those movies. What’s the point of "reheating those nachos" and forcing people to eat them? Even if you can’t quite reach the insane extremes of the *Sharknado* films, you need to bring something original to the table—because that’s what sells in today’s cinematic landscape. As I mentioned earlier, the stepsibling subplot turned out to be entertaining enough to bring something fresh to this already oversaturated subgenre; it would be great to see more of that. And yes, I would recommend watching the film—if only for that trio's encounter with the sharks.
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