{"id":8479,"date":"2026-04-17T14:43:54","date_gmt":"2026-04-17T11:43:54","guid":{"rendered":"https:\/\/imdbnews.ir\/index.php\/2026\/04\/17\/thrash\/"},"modified":"2026-04-17T14:43:54","modified_gmt":"2026-04-17T11:43:54","slug":"thrash","status":"publish","type":"post","link":"https:\/\/imdbnews.ir\/index.php\/2026\/04\/17\/thrash\/","title":{"rendered":"Thrash"},"content":{"rendered":"<p>A massive storm floods a small South Carolina town, trapping several residents. They\u2019re further imperilled when the wreckage of a meat truck draws a shiver of hungry sharks.<\/p>\n<div><span class=\"content_content__i0P3p\" data-test=\"content\"><\/p>\n<p>Even by the \u2018it\u2019s-not-<em>Jaws<\/em>\u2019 standards of most shark films that aren\u2019t, you know, <em>Jaws<\/em>, Netflix\u2019s <em>Thrash<\/em> is very much not <em>Jaws<\/em>. In fact, it\u2019s more <em>Crawl<\/em> \u2014 Alexandre Aja\u2019s impressively gnarly gators-in-a-flood film, where the opening natural disaster is only the beginning of the characters\u2019 problems. That premise is effectively replicated here, just with fins instead of scales, as a hurricane tears through the town of Annieville \u2014 and while most residents flee before it\u2019s too late, several are left behind to deal not just with the rising waters, but the toothy horrors they contain. The results are mostly watered-down chum, albeit with occasional fun to be found.<\/p>\n<p><\/span><\/p>\n<div class=\"inlineImage_image-container__aklxu block-item\" data-test=\"inline-image-container\"><img decoding=\"async\" alt=\"Thrash\" loading=\"lazy\" data-nimg=\"fill\" src=\"https:\/\/imdbnews.ir\/wp-content\/uploads\/2026\/04\/thrash.jpg\" \/><\/div>\n<p><span class=\"content_content__i0P3p\" data-test=\"content\"><\/p>\n<p>Writer-director Tommy Wirkola \u2014 behind Nazi-zombie-fest <em>Dead Snow<\/em>, and Santa-but-John Wick actioner <em>Violent Night<\/em> \u2014 is no stranger to a schlocky premise, and keeps the tone playful and light. His script signals the third-act mayhem with all the subtlety of an exploding yellow barrel \u2014 when Phoebe Dynevor\u2019s heavily pregnant Lisa gets a call from her anxious mother early on, asking if she\u2019s still thinking of a water-birth, you know where things are headed. The same goes, too, for Whitney Peak\u2019s young Dakota \u2014 an agoraphobe who hasn\u2019t left the house since her mother died, about to get an unexpected incentive to venture outside again. And across town, a trio of foster kids find that the sharks are only mildly less dangerous than their nefarious carers.<\/p>\n<p><\/span><span class=\"content_content__i0P3p\" data-test=\"content\"><\/p>\n<p>Even for a shark B-movie, <em>Thrash<\/em> is particularly thin and silly, with stock characters and a premise that Aja tackled with far more bite. The sharks themselves feel intangible and offer little suspense, while the opening flood is awash in unpolished CGI. Still, you can\u2019t fault it going for broke in the final act, chucking dynamite explosions, maternal rage and Vanessa Carlton\u2019s Millennial classic \u2018A Thousand Miles\u2019 into the mix to undeniably entertaining effect \u2014 if you\u2019ve stuck it out that far. It\u2019s not <em>Jaws<\/em>. It\u2019s not even <em>Crawl<\/em>. But it is quite fun, if you turn your brain almost completely off.<\/p>\n<p><\/span><\/div>\n<p>More shallow than The Shallows, and lacking the depth of even Deep Blue Sea, this has chuckle-worthy moments but will be forgotten roughly 47 metres down in the lower-echelons of shark cinema.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A massive storm floods a small South Carolina town, trapping several residents. They\u2019re further imperilled when the wreckage of a meat truck draws a shiver of hungry sharks. Even by the \u2018it\u2019s-not-Jaws\u2019 standards of most shark films that aren\u2019t, you know, Jaws, Netflix\u2019s Thrash is very much not Jaws. In fact, it\u2019s more Crawl \u2014 [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":8480,"comment_status":"open","ping_status":"closed","sticky":false,"template":"Default","format":"standard","meta":{"footnotes":""},"categories":[47],"tags":[],"class_list":["post-8479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-47"],"_links":{"self":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/8479","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/comments?post=8479"}],"version-history":[{"count":0,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/posts\/8479\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media\/8480"}],"wp:attachment":[{"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/media?parent=8479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/categories?post=8479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/imdbnews.ir\/index.php\/wp-json\/wp\/v2\/tags?post=8479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}