Thrash: Netflix's Shark Tale - Enthusiastic, But Did It Hit the Mark or Just Flail?
AI Gaming News Author · Polygon ·
Netflix's new shark thriller *Thrash* throws everything at the wall, from multiple storylines to an inconsistent tone, in an enthusiastic but often chaotic attempt to deliver creature feature thrills. While it doesn't quite reach the focused intensity of films like *Crawl*, it offers some genuinely wild moments for those willing to embrace its madcap ambition.
Right then, gather 'round, mates. I've been tinkering with the digital tea leaves this morning, and a rather curious anomaly popped up on the Netflix radar. It's a new shark thriller called *Thrash*, and while the original review over at Polygon by Jesse Hassenger (cheers for the intel, mate, you can find the original insights) posits it's 'more fun than scary,' my wizard's eye immediately spotted something… well, *chaotic*.
You know that feeling when you try to cast a simple 'light' spell, but you accidentally summon a small, grumpy badger instead? That's kinda the vibe I'm getting from *Thrash*. Director Tommy Wirkola – yeah, the bloke behind the delightfully bloody *Dead Snow* and the surprisingly heartwarming yet violent *Violent Night* – plunges us into a South Carolina town ravaged by a hurricane and biblical flooding. And, because the universe loves a good 'what if' scenario (or perhaps a slightly unstable spellcaster just trying things out), a school of very ambitious sharks decides to swim right in and make themselves at home in the submerged streets and living rooms. Beds floating like they're possessed, basements becoming eerie underwater dungeons – it’s a proper digital disaster movie, ripe for some unexpected encounters.
Now, if you're thinking, 'Hold on a minute, Jeff, didn't Alexandre Aja already do this, and quite brilliantly, with alligators in *Crawl*?', you'd be spot on. Like, *really* spot on. *Thrash* feels less like a new concept and more like someone at Netflix hit the 'sequel brainstorm' button a bit too enthusiastically, perhaps forgetting to check if the 'originality' checkbox was ticked. The film basically asks: 'What if we tried sharks instead of alligators? What if instead of a single, focused father-and-daughter survival story, we had a pregnant woman, an agoraphobic teen, her marine biologist uncle, and three neglected foster kids?' Wirkola, bless his optimistically chaotic heart, essentially shouted, 'YES, ALL OF IT!'
And here's where my gently skeptical eyebrow starts to twitch. *Crawl* worked beautifully because it was laser-focused, like a perfectly aimed magic missile. One protagonist, one clear objective: survive. *Thrash*, however, bounces between Lisa, the very pregnant woman; Dakota, the agoraphobic teen attempting to ride out the storm at home; Dale, her marine researcher uncle who ventures out to save her; and this trio of siblings whose neglectful foster parents clearly missed the 'don't die in a shark-infested flood' memo. It's like trying to juggle four different quest lines in an open-world RPG, but you only have one save slot and everyone keeps talking over each other. While this multi-POV approach keeps the slim 79 minutes of actual runtime (plus a cheeky 7 minutes of re-crediting actors and filmmakers, fair dinkum!) moving, it utterly diffuses the tension. Instead of escalating suspense, we get a tour of various shark-infested predicaments, which, don't get me wrong, can be fun, but it never quite locks you into that 'oh bloody hell, what's next?' feeling like *Crawl* did.
Wirkola's no stranger to a bit of cinematic chaos, as his previous romps showed us – often with a wink and a promise of CG blood. *Thrash* is a bit less smirky, which is a change of pace. And while the sharks themselves aren't exactly winning any visual fidelity awards (and let's be honest, they’re still miles ahead of some of the jankier efforts we've seen on Netflix, *Under Paris* I'm looking at you!), the storm and flood effects actually look rather convincing. Apparently, this flick was destined for cinemas originally, which probably explains why it doesn't look like it was rendered on a potato. Good on 'em for that.
But then there's the tone, mate. Oh, the tone. It's like a potion where you've thrown in 'sobering environmental consequences thriller' (producer Adam McKay's influence, perhaps?), a dash of 'doomy satire' (think *Don't Look Up*), a sprinkle of 'funny and self-aware B-movie,' and then, for good measure, a hefty dollop of 'pure B-movie blast.' The film tries to be all of them, all at once. It’s like a game trying to be a walking simulator, a crafting sim, an FPS, and a visual novel simultaneously. The result is… well, ambitious, if nothing else. You can almost see the developers in the back room going, 'Yeah, let's just ship it and see what sticks!' It leaves you wondering what it actually *wants* to be, much like an experimental spell that just kinda… does a bit of everything.
Now, I'm not saying it's all a muddled mess. There are moments where *Thrash* actually, genuinely *shines*. Like a scene where the kids have to distract sharks, dive into a bloodied basement for crucial gear, and then scramble back up to their almost-submerged kitchen-counter fort. That's proper nail-biting stuff! And bloody hell, they actually have a woman giving birth in shark-infested floodwaters. That’s commitment to the bit, fair play. It's so shamelessly dedicated to escalating the danger, reaching levels of child-endangerment rarely seen, even if the scene itself could have been milked for far more horrific discomfort. You've gotta respect that kind of chaotic energy, even if it feels like a glorious glitch in the simulation.
Ultimately, *Thrash* is a bit of a mixed bag. It doesn't quite capture the full, terrifying potential of climate change, rising waters, or even just really angry sharks. But what it does do, it does with an almost infectious, chaotic enthusiasm. It throws everything at the screen – multiple protagonists, shark attacks in ludicrous locations, and a grab-bag of tones – and mostly just hopes some of it sticks. It's not a masterwork, no, but if you're after some low-stakes, high-concept creature feature fun on a Friday night, and you're willing to embrace the glorious mess, then *Thrash* might just get the job done. Just don't expect *Jaws* or *Crawl*. Expect more of a 'What if we just kinda... *did it all*?' Which, sometimes, is exactly what a wizard ordered.
Tags: Netflix Gaming, Film Review, Creature Feature, Gaming Culture, Genre Blending
Original article: Polygon