Horror films with heavy social commentary and themes have been all the rage over the past decade with some abhorring the so-called “elevated horror” tag these films have been slapped with. Fresh follows this era of horror’s styling, at times a bit too much. The film introduces us to Noa (Daisy-Edgar Jones), a typical woman of her generation who has become frustrated by dating apps and the options she encounters on them. After being approached by him the produce section of the grocery store, Noa takes a chance and gives her number to the awkward but charming Steve (Sebastian Stan). The two hit it off and soon she accepts Steve’s invitation to an impromptu weekend getaway. While there, Noa soon finds that her new paramour has been hiding some unusual appetites.
The film feels like a feminist derivative of Get Out, featuring the same general metaphor about a historically mistreated group being viewed as mere cattle and commodities by their more dominant counterparts in society. It even features a funny black friend who foresees the nefariousness of the dominant group love interest, working to save the now imprisoned main character before it’s too late. The messaging can get heavy handed at times as well, best encapsulated by a scene where Steve asks her to “smile” despite her circumstances. Every man in the film is irredeemable, from Steve to the bartender friend Paul who leaves the young ladies to die instead of saving them. Fresh also makes sure to cover those women who internalize misogyny through Steve’s wife’s on the nose archetype of the female traitor who aligns with the patriarchy and harms women. The concept of the story is interesting in its horror elements, but social commentary beats you over the head to a distracting level. As they are wont to do, this distracting flaw made other questions regarding the story stand out. For instance, we find out later in the film that Steve kept Noa’s working phone on him for a week, despite knowing that she told at least one person about their burgeoning relationship. Even if he was reasonably sure the person she told couldn’t track him, that seems sloppy for a man running a high risk criminal enterprise for the wealthy.
The film is far from completely bad though, as the initial romance between Noa and Steve is handled superbly and they’re a couple you want to root for, which makes Steve turn all the more wrenching even if you knew it was too good to be true. In that regard, it’s a great allegory for the scene on dating apps that Noa’s life represents. While the writing is predictable, Mimi Cave displays an aptitude for directing with the camera angles, pacing of the film, and performances she gets from her acting that makes you ready to see what she can do as she gains more experience and releases more films. Sebastian Stan is pleasantly hateable in his turn as a villain who preys on women for profit with Daisy Edgar-Jones every bit his equal as a strong female character full of fight who’s sure to connect with female audiences. Despite its obvious preachiness, Fresh is imminently entertaining with some real moments of tenseness and suspense that stick with you for a while post-viewing. Its third act is explosive and satisfying, ending on a high note that’s almost enough to distract you completely from its earlier flaws. While it may feel a little too familiar and on the nose, it’s an entertaining watch particularly for horror fans that’s worth giving a shot.
Image: Searchlight Pictures
