C-

Misplaced self-respect keeps Thrash from the joys of Sharknado

It winks at its audience throughout, but its bloody violence and pandering laugh lines never go full-tilt SYFY Original.

Misplaced self-respect keeps Thrash from the joys of Sharknado

There’s more corny humor than one would expect in the underwhelming shark-hurricane disaster movie Thrash, an emotionally constipated eco-thriller that winks at its audience throughout, but whose bloody violence and pandering laugh lines never goes full-tilt Sharknado. Unlike Sharknado and its sequelsThrash presents the main threat to its characters’ safety—a Category 5 hurricane that makes landfall in Annieville, South Carolina—with a mostly straight face. But while Thrash resembles a general-audience survival horror drama, its forgettable protagonists also frequently stop to reassure viewers—mostly through profanity-laced dialogue and occasional bursts of gore—that it’s okay to scoff at whatever they’re looking at. 

Thrash often looks like writer-director Tommy Wirkola (Violent Night, Hansel & Gretel: Witch Hunters) couldn’t settle on a tone or just one group of characters to focus on, and instead chose to throw in every half-formed mood and subplot that he could think of. Wirkola and his team’s creative indecision is especially counterintuitive given how much time and expository dialogue they waste hyping up the peril facing Annieville residents like Dakota (Whitney Peak), an agoraphobic teenager living alone in her dead parents’ house. Dakota eventually teams up with fellow survivor Lisa (Phoebe Dynevor), a pregnant woman whose car gets dragged to Dakota’s place by tidal flooding right as her water breaks. Lisa’s the subject of some glancing comedy, though it’s especially hard to know why her “perfectly curated birth playlist” is so funny that it comes up multiple times, as if listening to Vanessa Carlton’s “A Thousand Miles” is somehow the funniest thing you could do in the middle of a crisis. 

And as if being stranded in the middle of a flood zone wasn’t bad enough, Lisa and Dakota are also surrounded by flesh-eating bull sharks. You might think that outmaneuvering those sharks would take up most of our heroines’ non-pregnancy related focus while they wait for Dakota’s intrepid shark expert uncle Dr. Dale (Djimon Hounsou) to rescue her. 

Unfortunately for us, the bull sharks are more interested in terrorizing a trio of scrappy orphans—Dee (Alyla Browne), Ron (Stacy Clausen), and Will (Dante Ubaldi)—and their charmless redneck foster parents Billy (Matt Nable) and Rachel (Amy Mathews). This is unfortunate because the kids don’t have personalities, and their guardians mostly cuss at and condescend to them. Will and his siblings only really stand out in a handful of scenes where they have to navigate their foster family’s water-logged home, searching for supplies or an escape route. 

Those sequences at least provide a welcome break from the unnecessary dialogue exchanges between ostensibly desperate people who either talk so much that they halt the movie’s meager momentum or land too hard on wan one-liners. Sometimes they do both at once, like when Dr. Dale not only explains to his young colleagues why he became a shark expert, but also scolds them for not knowing much about modern Africa: “We lived in Mozambique, not the fucking Jungle Book.” Head-scratching zingers like that make one long for the comparative restraint and focus of producer Irwin Allen’s epochal disaster movies, like The Poseidon Adventure and The Towering Inferno. 

Thrash‘s weak stabs at humor wouldn’t be so distracting if they weren’t used to compensate for the blandness of its crowdpleasing moments, like when Dr. Dale exclaims, “Holy fucking shit” after he sees one bull shark jump through the air to take out another bull shark. Hounsou’s line might’ve been more convincing if the sharks in question didn’t look so cheap. Sharksploitation films usually don’t need sterling special effects to be good time-wasters, but you know you’re not having a good time when you start wondering why the shark movie’s jokes aren’t landing. 

Dakota and Lisa’s scenes also feel like missed opportunities, since they spend more time circling each other than navigating their perilously inhospitable surroundings. This type of movie usually thrives on circumstantial peril, but Thrash isn’t that conventional or satisfying. There are flashes of a better, or at least less self-conscious, movie whenever the protagonists aren’t spelling out everything that their creators want us to know is on their minds. But even the scenes where characters flee to higher ground feel played out, especially when compared with the too-brief scenes of mindless disaster carnage.

The makers of Thrash never pick a lane and stick with it, making it hard to know if their ideal viewer is supposed to actually root for Dakota and Lisa, or clap when Billy inevitably (and repeatedly) runs into a bull shark. Either would have been fine, but trying to do both at once deprives this dull genre exercise of a clear sense of purpose. There’s too much and not enough going on in Thrash to make it worth your full attention, though a handful of bull shark-centric scenes might make you wish you were watching a better programmer during Shark Week.  

Director: Tommy Wirkola
Writer: Tommy Wirkola
Starring: Phoebe Dynevor, Whitney Peak, Alyla Browne, Djimon Hounsou
Release Date: April 10, 2026 (Netflix)

 
Join the discussion...
Keep scrolling for more great stories.