Name: Fresh
Genre: Horror, Thriller, Comedy
Released: 2022-03-03T00:00:00+00:00
Cast: Daisy Edgar-Jones, Sebastian Stan, Jojo T. Gibbs, Charlotte Le Bon, Dayo Okeniyi

The first shot of Fresh (2022) lingers on Daisy Edgar-Jones‘ Noa, wide-eyed and hopeful, scrolling through dating apps. It’s a relatable moment that sets the stage for Mimi Cave’s darkly comedic horror-thriller, which twists the modern dating nightmare into something far more sinister.

Cave, making her feature debut, crafts a film that feels both timely and timeless, blending the mundanity of app-based romance with the visceral thrills of a psychological thriller. The grocery store meet-cute between Noa and Steve (Sebastian Stan) is a masterclass in subverting expectations, the awkward charm of their initial interactions masking something far more sinister beneath the surface.

What works best about Fresh is its tonal balance. Cave never lets the horror overshadow the comedy, or vice versa. The film’s pacing is deliberate, allowing the tension to build slowly before unleashing moments of genuine terror. The grocery store scene, for instance, is a perfect example of this balance—what starts as a sweet, if awkward, encounter takes a dark turn that lingers long after it’s over.

Edgar-Jones delivers a performance that anchors the film. Her Noa is relatable and complex, a woman desperate for connection but unwilling to compromise her self-respect. Stan, meanwhile, is a revelation. His Steve is charming and charismatic, but there’s always something just beneath the surface that feels… off. The chemistry between the two leads is electric, making their twisted dance of attraction and repulsion all the more compelling.

The supporting cast, however, doesn’t fare as well. Jojo T. Gibbs as Mollie and Andrea Bang as Penny feel underdeveloped, serving more as plot devices than fully realized characters. Their interactions with Noa lack the depth and nuance that Edgar-Jones brings to her role, making their presence in the film feel somewhat superfluous.

Cave’s direction is impressive for a debut feature. She has a keen eye for detail, using the mundane setting of a grocery store to create an atmosphere of unease. The cinematography is sharp, with each frame carefully composed to enhance the film’s tense mood. The soundtrack, too, is noteworthy, blending modern pop music with eerie instrumental pieces to create a unique auditory experience.

Thematically, Fresh explores the darker side of modern dating and the desperation that can come with it. Noa’s journey from hopeful romantic to terrified victim is a stark reminder of the dangers that lurk beneath the surface of our digital connections. The film doesn’t shy away from these themes, using its horror elements to highlight the very real fears that many people have about online dating.

However, Fresh isn’t without its flaws. The film’s third act stumbles somewhat, relying on a few too many horror clichés to wrap up its narrative. Additionally, some of the supporting characters feel underdeveloped, particularly Mollie (Jojo T. Gibbs) and Penny (Andrea Bang), who serve more as plot devices than fully realized people.

But these missteps don’t overshadow the film’s strengths. Fresh is a bold debut from Mimi Cave, a filmmaker unafraid to tackle the dark side of modern dating with both humor and horror. The film’s unique blend of genres makes it stand out in a crowded field of thrillers, and its themes resonate long after the credits roll.

Fresh is a film that will appeal to fans of psychological thrillers and horror-comedies alike. Its exploration of modern dating anxieties makes it feel fresh (no pun intended) and relevant, while its blend of humor and horror ensures that it never takes itself too seriously. The performances from Edgar-Jones and Stan are standout, and Cave’s direction is impressive for a debut feature.

In the end, Fresh is a film that balances tone and theme with skill and precision. It’s a darkly comedic horror-thriller that explores the dangers of modern dating with both humor and horror. While it stumbles somewhat in its third act and some supporting characters feel underdeveloped, these missteps don’t overshadow the film’s many strengths.