Cinema for Brunch FAIR PLAY Review

“Fair Play” is a welcome, subversive throwback to erotic thrillers of the 1990s, bolstering a terrific pair of performances from Phoebe Dynevor and Alden Ehrenreich.

Synopsis

An unexpected promotion at a cutthroat hedge fund pushes a newly engaged couple’s relationship to the brink.

Review
Don’t you miss the over-the-top thrillers of the 90s? You know, the erotic ones, like Fatal Attraction, Showgirls, Jade and Wild Things, among many others. The sensuality, scene-chewing monologues, the music, the unpredictable plot twists and those jaw-dropping moments that you spoke with your coworkers or friends about the next morning. Well, we may have a return-to-form in Chloe Domont’s directorial debut “Fair Play”. Newly-engaged couple Emily (Phoebe Dynevor) and Luke (Alden Ehrenreich) keep their relationship secret from their co-workers at their highly competitive, cutthroat financial firm. Once an unexpected promotion opens up (after one of the funniest and darkest scenes of a person being “let go” I’ve seen in recent memory), Emily and Luke’s relationship is thrown into a boiling pot, simmering until tensions and power dynamics spill over into something sinister and unforgettable.

To speak to the aforementioned point, “Fair Play” is marketed as an erotic thriller but I’d argue that the eroticism is a shrewd front on Chloe Domont’s part to give way to a more depth-heavy psychological thriller. Don’t get me wrong, the hot sex is there, the palpable chemistry between Dynevor and Ehrenreich is there but being hot and bothered is not the main focus here. The main focus is ambition, ego, empowerment and relationships…and the dangerous convergences that can happen between those four avenues. Two poignant scenes in “Fair Play” occur in a bathroom – one near the beginning, the other near the end. The first scene is sexy turned shocking turned cute; the second scene is devastating turned horrifying. These scenes are an amazing range of Emily and Luke going from a cute couple to two strangers that no longer recognize each other with one taking a turn for the absolute worst. It takes skilled performers to pull off this eventual transition from happy to miserable and this film is in no better hands than Dynevor and Ehrenreich. These actors take on the challenge with aplomb and sincere emotion, steering their characters to the dark places they have to go and to the inevitable fallout from their actions.

Phoebe Dynevor’s portrayal of Emily is a performance that carries at least half of the film, plot twists and all. Her transformation from a woman in a male-dominated, cutthroat field to a woman that has control but is desperately trying to maintain it is a marvel to watch. To watch this character navigate the tense, anxiety-inducing world of finances while also trying to keep control of her home life with her fiancé carries a mixture of well-crafted complex emotion and weighty pathos. On the flip side, we have Alden Ehrenreich’s turn as Luke, a man who is forced to question his importance in a shark-filled world and even his allegiance to a woman he is soon to call his wife. If Emily’s journey represents “loss of control”, Luke’s represents “sprawling desperation”. You can see the desperation in his stride, the slowly widening panic in his eyes, his pitiful desire to be noticed. Every shaky move he makes not only jeopardizes his position but also his fiancé’s, leaving them both to question if they are willing to forego their happiness for blind ambition. Dynevor and Ehrenreich are actors that are on the upslope for more juicy roles and recognition but I firmly believe this the film that will have their names on more moviegoers’ tongues. These two give it their all in these roles and the film (with its tightly paced writing) is made even better for it.

As far as acting is concerned, the compliments don’t stop there. In a scene-stealing turn, we have Eddie Marsan as the intimidating bossman Campbell. Marsan (so against-type here, it’s great) commands the screen as Campbell, every intimidating cold-eyed stare, every condescending rich-guy smirk and every piercing line of dialogue is felt through his performance. Dynevor and Ehrenreich take full control of most of the film but in scenes where he appears, Marsan is damn-near J.K. Simmons-in-Whiplash good. We also have Mad Men alumni Rich Sommer as Paul, a top executive that oversees the firm. Sommer, while he may not be as memorable as the other players, is always a welcome addition to any film he’s in. Sebastian de Souza is also a welcome addition as snarky Rory, a humorous foil to Emily’s character.

The value in Chloe Domont’s debut is not just her tense direction but her layered writing. The best part of Fair Play is the uncomfortable position in which it puts its audience. Topics such as gender norms, power dynamics, work-related depression and anxiety all come to a head in the film’s jaw-dropping climax leading up to an even more jaw-dropping conclusion. While the third act may go a little too much into over-the-top territory (remember, this is an homage to 90s erotic thrillers like Fatal Attraction), it is still a tense third act that is more-or-less earned. “Fair Play” is sure to be the film that will have people talking and debating about its conclusion, not more so of who you side with but what Domont is trying to say here. There’s much to be unpacked among moviegoers as to how we got here, what does it all mean and fairly, what part of this tight anxiety-inducing rider was really “fair play”.

Closing Thoughts
“Fair Play” is no-question the thriller of the year (so-far). It’s taut, sexy, unpredictable and leaves a nasty impression on anyone who enters its tomb. Award aficionados (if they’re smart enough) should flock around Dynevor, Ehrenreich and Marsan for serious consideration. It’s their performances and Domont’s sharp writing that elevate this film past being a 90s erotic thriller homage to a unique, psychological thriller with themes worth unpacking long after it’s over. While its third act may polarize and split audiences, “Fair Play” has a purpose that lies within its dissection of gender norms, power dynamics and just what power alone can do to an individual when they’re in competition with the one they love.

Trailer

http://www.netflix.com/FairPlay