An oddly-dated, obvious and overwrought melodrama about gender roles and the toxic masculinity of Wall Street hedge funders, “Fair Play” is practically a parody of decades of women in the workplace romantic thrillers.

It’s got Phoebe Dynevor of the sexy Shanda soap “Bridgerton” in the Dakota Johnson role, and this festival-hyped feature debut of veteran serial TV writer (“Ballers”) and TV director Chloe Domont (“Shooter”) arrives at a moment when its timeless” gender-role” and glass ceiling issues could have renewed urgency.

But there’s not a subtle or particularly original moment in it. It starts over-the-top, and trots out every “ill-advised” workplace relationship cliche in print or on film in a film of bigger and more epic in-the-office tantrums, eye-rolling HR/Federal EEO violations and theatrical “I’m Mrs. Norman Maine” era throw-it-all away with alcohol-fueled immaturity tropes.

If you don’t find it a little funny, you’re not seeing co-star Alden Ehrenreich give a Judy Garland turn in a non-musical Douglas Sirk slap at dated mores and attitudes about male insecurity measured by a paycheck, you must be Ms. Domont.

Two stock analyists with a longstanding relationship show us a little affection and a lot of carefully guarded efforts to keep their “against company policy” coupling secret in opening scenes that lower the stakes a lot earlier than intended.

Emily (Dynevor) and Luke (Ehrenreich, of “Solo” and “Cocaine Bear”) make moon-eyed ” I wish we could tell the whole world” pronouncements. But while we see a hint of “smitten” from her, the relationship is um “painted” in sex scene cliches as they go at it in yet another slammed-against-the-wall/sex-in-a-bar-bathroom moment in the middle of a wedding celebration for Luke’s brother.

The fact that a woman director conceives this as shorthand for “our great love” and not parody is funny in itself.

“Over the top” begins with the “time of the month” nature of this impulse, and can only have “You look like you slaughtered a chicken” punchline. That’s the film’s lone amusing moment. But as the story marches straight into their “first real test,” we feel little heat, and little of love and tenderness in all this. If there’s chemistry in the couple, its chilly. Maybe it’s their line or work.

That “test” comes in their high-pressure/high-end “boiler room” of a workplace, where lowly analysts like them slave for credit-thieving PMs (portfolio managers), all at the pleasure of the their One Great Capital boss, Campbell, given owlish inscrutability that turns reptillian ruthless by the great Eddie Marsan, in the film’s best performance.

We witness a post-firing meltdown for the ages, watched with morbid, unconcerned curiosity by the room full or predators and wannabe-predators. Emily hears office gossip that Luke must be the choice to replace the PM who melts down, but almost the moment she passes that hopeful news on to her just-gave-her-a-ring fiance, we know it’s wrong.

Emily is confident, at ease and sharp and has the boss’s eye. She gets the promotion. And as he hears the whispers about “what she must have done” to get it from the piggish pack that they work in, he wonders, too.

After all, no over-achiever in a skirt from Long Island ever gets ahead in Bro-World without that, their limited thinking dictates.

“Fair Play” is about Luke’s feigned support and instant sense of emasculation, crawling into the bottle as his wife-to-be hustles to be the “star” her boss expects, with her offering to help Luke get the promotion he has built his life around and trotting through a parade of cliches, from Luke’s “not into it” sexual withdrawal to her “make it rain at the strip club” just to fit in with “The Boys” coming out.

Honestly, there’s not an original thought here, although Domont finds a few shades on well-worn tropes — what Emily discovers about Luke’s office rep, for instance. What Luke’s mindset lets him think about Emily seems a “Greed is good” era Wall Street movie cliche. And the wan love story has laughable “A Star is Born” attitudes trotted out as a straw man for Domont to swat around, as if this cultural debate doesn’t date from “Desk Set” to “Working Girl” and she just “discovered” it.

There’s suspense in how ugly this will all get as Domont serves up bigger and bigger meltdowns, teases us with Emily’s wheels-turning machinations to sabotage rivals and assist her future husband to create peace in the marriage-to-be.

Dynevor does her best to humanize Emily’s response to this threat to what she sees as her “traditional” future happiness. But Domont is more interested in sex as shorthand for “love” that turns to “violence” than presenting a great romance “shattered” in ways these movies and TV have covered for decades and that we all see coming.

Every generation discovers anew the work/family balance struggle, so that’s fair ground to cover. In an America in the midst of a renewed “war against women,” it’s timely to revisit this workplace dynamic with a Gen Z eye. But you’re kind of obligated to let on you’ve done more than watch other movies and television dramas on the subject so you can recycle the most extreme moments moments in a bid to go further and further over the top with them.

There’s veiled moralizing about what repellent creatures these hedge fund folk are without a hint of judgment about the work they do, incorrigible gamblers who traffic in gossip as “inside information” to place their next economy-buffeting “bets.”

But any movie that parks a woman in their midsts and has her drinking and strip-clubbing to fit in, that has our over-the-moon Romeo switch off and crawl into the bottle in a flash, all because his not-yet-wife is making a lot more money than he is, and isn’t simply sending those weary cliches up isn’t worth the hype.

Any movie that dares to make sex in yet another public pub restroom “romantic,” at this late date, is laughable.

Any movie that doesn’t think casting an actual “Mad Men” man (Rich Sommer) as a cutthroat upper exec isn’t as unsurprising as everything else seems ill-considered.

And any movie where, to paraphrase Chris Rock, you think Alden Ehrenreich “is the answer,” well come on.

Rating: R for pervasive language, sexual content, some nudity, and sexual violence

Cast: Phoebe Dynevor, Alden Ehrenreich, Sebastian de Souza, Rich Sommer and Eddie Marsan.

Credits: Scripted and directed by Chloe Domont. A Netflix release.

Running time: 1:53