Displaying items by tag: Phoebe Dynevor

THRASH

Australia/US, 2026, 86 minutes, Colour.

Phoebe Dynevor, Whitney Peak, Djimon Hounsou, Matt Nable, Andrew Lees, Josh McConville, Costa D'Angelo,

Directed by Tommy Wirkola.

Yes, another shark movie. Since 1975 and Jaws, there have been so many shark movies, a very popular theme with the public. There have been serious films, parodies like the Sharknado series.

This film was written by a Norwegian writer-director, Tommy Wirkola, many of his horror films were set in Scandinavian snowy mountains.

The setting is South Carolina, a level 5 hurricane bearing down on the coast, huge waves, flooded streets, rooves removed, houses collapsing, vehicles crashing, stranded, the expected special effects for a hurricane. And, in addition, a number of sharks with a Great White leading to some heroism at the end!

There are several human stories. The first focuses on a young woman, grieving the death of her mother, confined to her house, her uncle an expert on shark tracking. Second is a family, a grossly swearing father, foster mother, three young children in foster care. The third is a young woman, pregnant, late in driving out of the town, stranded, pinned in by a branch in her car. There are also scenes with the uncle and his staff, eager television reporters, and their driving, then sailing to the rescue of the niece.

A whole lot of heroism. A number of gruesome deaths with sharks. Three children stranded, their foster father reappearing but again the sharks. They use their enterprise to distract the sharks to get the car to escape. The main emotions are for the pregnant woman, the niece seeing her, coming to her rescue, the credibility or not of the impending birth, and the child, the final rescue.

This is what one commentator called a serviceable entertainment, far-fetched but some grounds of credibility, some heroism, action, and audiences imagining what they might do in a similar situation.

Thrash was filmed in Melbourne and the supporting cast is largely Australian, especially Matt Nable as the foster father and three children.

FAIR PLAY

US, 2023, 113 minutes, Colour.

Phoebe Dynevor, Alden Ehrenreich, Eddie Marsan, Rich Sommer, Sebastian De Souza, Geraldine Sommerville.

Directed by Chloe Domont.

With a title like Fair Play, audiences will probably surmise that they will be seeing a lot of unfair play. They will not be wrong. Fair Play won awards at the Sundance Festival and was sold for a large sum to Netflix. And it was critically praised. After a short run in cinemas, it went to streaming.

First of all, the setting is in the world of American finance, the world of hedge funds, clients, the turnover of millions of dollars, successes, errors, losses, promotions and bonus, firing. Which, as a theme, maybe off-putting to audiences who observe this financial world with something of dismay.

And, secondly, the central characters are 30+ or -, ambitious, dedicated to this world of finance, on rungs up and down, and this will make quite an impact of audiences of 30+ or - who can identify with them. However, watching the relationship, observing the workplace struggles, the unfair play, older audiences might remember, on the one hand, or become impatient with the behaviour they are watching.

The central performances are very strong, Phoebe Dynevor (British actresses, especially in Bridget and) and American Alden Ehrenreich (Blue Jasmine, Hail, Caesar). While they work the same company, they have to keep the relationship quiet because of company regulations. At the opening, Luke proposes to Emily. At the end, there is a family party to celebrate the engagement – which is not what anyone was expecting.

Most of the action takes place in the offices of the company, Emily and Luke working together, under the eye of the demanding head of the company, Eddie Maas and in an unusual role. There are issues of promotion, favouritism, jewelry, resentments, efforts to impress, declarations of loyalty, bad suggestions, financial losses, shrewd compensations…

In the important part of the film is the theme of men and women in the workplace (the film written and directed by a woman, Chloe Dormont). What happens when women are promoted over men? What happens when women become part of the male hierarchy, drawn into share in their match oh conversation and jokes (what is usually referred to as locker room humour transferred to the board room and hotel dinners and drinking)?

These are the developments which lead into the relationship between Emilie and Luke, reminders of the Me Too # movement, themes of equality, repercussions of workplace competitiveness on the relationship, on sexual aspects of the relationship.

And, at the engagement party, engineered by Emily’s mother against her wishes, there is some surprising behaviour – and some shocking behaviour which leaves the audience, already unsettled by the themes, more unsettled as the final credits come up.

1. The title – and how much fair play in the behaviour of the characters? The situations? The world of high finance?
2. The New York settings, ambitious workers in finance, the workplace, offices, apartments, restaurants, celebrations? Atmosphere? Musical score?
3. The target audience, those at the age of the protagonists? Older audiences looking back, remembering, judging the behaviour of the younger generations? Resolutions?
4. The introduction to Emily and Luke, their knowing each other, going out together, living together, the apartment, the party, his proposal, her acceptance? The potential for the relationship? The role of equals in partnership, relationship, workplace?
5. The workplace, New York offices, finance, hedge companies, deals, research, negotiations, the boss, the hierarchy of officials? Emily and Luke within this context, and the secrecy of their relationship because of company policy?
6. The beginning of the complications, the firing of the assistant, the tough stances of the boss, the rumours, Emily hearing that Luke would be promoted, the celebration, the reality, Emily promoted?
7. The film dramatising issues of equality in the workplace, the role of women, promotion, equality of the sexes or not, sexual harassment and attention, the cell woman with the hierarchy, going out with them, the matcher comments on sexual innuendo, the jokes and stories, Emily and her choices, participating in these outings and conversations, drinking? The contrast with Luke, seeming to accept the situation, supporting Emily, but incipient feelings of resentment, difficulties at home, sexual reservations, research at work?
8. Emily, continued success, Campbell and his affirmation, the new clients, her explanations, her trying to support Luke, his advice, the losing of the millions of dollars, her shrewdness, taking a risk, doing the research, making the correct judgements, the financial rescue?
9. The effect on Luke, depression, at work, research, helping Emily, growing resentment?
10. Leo going into Campbell, on his knees, his declaration, his ambitions? Campbell and his disdain, his associates, firing Luke?
11. The background of the engagement, Luke not telling his parents, Emily with her mother, the phone calls, her mother’s insistence, telling Luke’s parents, the preparation for the party, the family all coming, the two resisting?
12. The climax of the party, Luke edgy, Emily upset, the parents and relatives in their behaviour, the argument, in public, going into the washroom, the confrontation, the sexual encounter, audience reaction to Luke’s behaviour, the rape, the aftermath?
13. Emily, taking a firm stand, the feminist and in the Me Too# era? Luke coming to the apartment, packing, his apologies, hesitant, Emily and her demands, his weeping and apology?
14. Audiences and their identifying with Emily, with Luke, the equality issues, mail-female issues, dominance of men in the workplace, the emergence of women? And the issue of sexual relationships,