Review: ‘Nyad’ is a fascinating watch on one woman’s unexpected grit and determination

The film, now on Netflix, explores the life of swimmer Diana Nyad. (Supplied)
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Updated 23 November 2023
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Review: ‘Nyad’ is a fascinating watch on one woman’s unexpected grit and determination

CHENNAI: Netflix’s latest foray into the arena of sports storytelling explores the trials of a woman who is well into her sixties when she decides to swim from Cuba to Florida without a shark cage.

The daring feat was undertaken by Diana Nyad, who is played with amazing grit by Annette Bening. The swimmer sets out to swim 103 miles between the two points and faces jellyfish, sharks and ageist condescension.

Keeping her company on her long and lonely struggle in the icy waters is her best friend Bonnie (Jodie Foster), a grumpy woman who stands by Diana at all times, come what may.

But Diana must swim alone, retching in the water, having nourishment passed through a tube from an accompanying boat. Nobody can touch her, for that would upset the whole effort.

It has always been Diana's dream to achieve something as remarkable as this and despite her several earlier attempts to conquer the deadly route from Havana to America, she never gives up.

Bening rises up to the challenge of the role with a kind of rare courage that is beyond one's imagination. The actress pulls out all the stops in a stunning showcase of grit and determination. Rhys Ifans plays a grizzly old captain who pilots Diana and others through shark-infested waters and enacts his part well enough, but unfortunately, Foster has much less of a part to play. She really cannot sink her teeth into Bonnie as her coach and though she cajoles and exhorts her best pal, she seldom looks sad or stressed. 

Directors Elizabeth Chai Vasarhelyi and Jimmy Chin, working with the screenwriter Julia Cox, trace Diana’s roots, but they do not manage to allow the view to really get to grips with Nyad's awful abuse as a child — and how that may have affected her future. Both have a strong history with documentaries about sportspersons whose feats involve a lot of misery and suffering (“Free Solo, “Meru”). No wonder, then, that “Nyad” turned out to be a fascinating watch. 


REVIEW: ‘Survivor’ meets workplace horror in Sam Raimi’s deliciously funny ‘Send Help’

Updated 30 January 2026
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REVIEW: ‘Survivor’ meets workplace horror in Sam Raimi’s deliciously funny ‘Send Help’

DUBAI: Sam Raimi’s survival horror comedy “Send Help” finds the visionary director in fine form. Rachel McAdams and Dylan O’Brien star as beleaguered employee and passive-aggressive new boss respectively in a film that’s irreverent, camp and gruesomely gory — all trademarks of Raimi’s masterful touch.

The premise is simple. Two colleagues — Adams’ Linda Liddle has been passed over for her long-overdue promotion, while O’Brien’s tyrant nepo baby Bradley Preston has just been named CEO.  On a work trip, the two of them survive a devastating plane crash and wash up on a deserted island.

Few things are more terrifying — or more darkly comedic — than being helplessly dependent on someone you actively despise. Raimi milks this premise for every drop, staging set pieces that swing between slapstick and genuine tension, often within the same scene.

Between vomit gags and horrific physical violence, Raimi expertly shifts the scales of power between the two characters. There’s no time to relax or anticipate next moves.

McAdams is the film’s undeniable draw with her genre-defining turn as a disgruntled employee with an axe to grind. There’s a scene midway through when she chances on a waterfall and begins to find her confidence again. That shift from bumbling strategy planner to stunning island girl would have felt unearned in less professional hands.

O’Brien more than holds his own too, with a performance that’s reactive in the best way, shifting from lazy smugness to unsettling desperation as the power dynamic shifts.

Visually, “Send Help” is classic Raimi: exaggerated angles, kinetic camera work and smartly utilized gore.

What makes “Send Help” such a satisfying watch is its steadfast commitment to its own weirdness and a director confident enough to push every element but know exactly where to draw the line. Subjects including class, gender roles and power dynamics are handled with tightrope precision and a lightness of touch such that the film never feels preachy. It’s all deliciously unhinged and strikingly original. If you don’t have any weekend plans yet, this should make your list.