Movie Review: What ‘Fresh’ Hell is This?!

March 2, 2022

jmunney Cinema, Movie Reviews , , , , , , , , 1 Comment

Fresh (CREDIT: Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved)

Starring: Daisy Edgar-Jones, Sebastian Stan, Jonica T. Gibbs, Charlotte Le Bon, Dayo Okeniyi, Andrea Bang, Brett Dier

Director: Mimi Cave

Running Time: 114 Minutes

Rating: R for Plenty of Blood and a Decent Amount of Flesh

Release Date: March 4, 2022 (Hulu)

Where do monsters exist in today’s society? If you look to Fresh for the answer to that question, you’ll be met with some terrifying, exhilarating results. To wit: modern dating sucks, but also: what’s in our food? It’s a lot to keep track of for someone who wants to live both deliciously and ethically!

For Noa (Daisy Edgar-Jones), she’s endured enough epically bad dates that you could easily imagine a Netflix exec hitting her up out of the blue and giving her carte blanche to produce whatever she wants out of all that raw material. Somehow, though, she’s actually in a headspace to accept a proposition in the grocery produce aisle. That’s where she meets a charming fellow by the name of Steve (Sebastian Stan), and next thing you know, they’re heading off for a weekend away together. This is the exact sort of meet-cute that tends to only happen in the movies, and everyone involved in making Fresh is trying to convince us that it should stay that way.

This is the point in my review in which I tell my readers that I am going to do my best to avoid specifics from here on out, as this is the sort of movie that works hard to keep its premise under wraps. The opening credits don’t even arrive until about a half hour in. (Perhaps starting a bit of a trendlet in that regard alongside Drive My Car.) I knew that the scares were coming, but if you go in completely cold, you might think that this is just a cynical comedy about the Tinder era. But everything is just edgy enough, and the colors are rendered in such vivid, bloody detail, that you can probably sense the horror lurking. But is it Noa or Steve pulling the strings as the puppetmaster behind it all?

Like so much great horror, Fresh zeroes in on an  examination of people who live beyond the morals of civilized society. It’s despicable, but also intoxicating to those who lap up these visions of monstrousness. I almost found myself rooting for Noa and Steve to end up together despite the massive degree of exploitation at the core of their connection, even as I was also rooting for the captive to escape in a cathartic turning of the tables. Rest assured, that comeuppance will come, and it will be glorious. In the meantime, we can revel in the bloody beauty from the safety of our viewing devices and maybe learn a thing or two about keeping that darkness cooped up where it belongs.

Fresh is Recommended If You Like: Raw, Promising Young Woman, American Psycho, Get Out, NBC’s Hannibal

Grade: 4 out of 5 Slices

Movie Review: ‘Luce’ Walks a Unique Tightrope of Cinematic Manipulation

July 29, 2019

jmunney Cinema, Movie Reviews , , , , , , , , , 1 Comment

CREDIT: NEON

Starring: Kelvin Harrison Jr., Naomi Watts, Octavia Spencer, Tim Roth, Brian Bradley, Andrea Bang

Director: Julius Onah

Running Time: 109 Minutes

Rating: R for Profanity When the Passive-Aggressiveness Becomes Too Unbearable and Some Sex and Nudity When It’s Too Pressure-Filled to Keep It In

Release Date: August 2, 2019 (Limited)

Sometimes I will come around on a film a few days or weeks (or even years) after an initial watch. But now I have discovered that it is possible for that dramatic transformation to complete itself over the course of the film itself. I thought I had Luce pegged about fifteen minutes in as a bunch of stiff, confounding nonsense, and the next sixty minutes or so didn’t do much to change my perception. But then the conclusion came along, and the puppetmasters revealed themselves. This film wanted me, all of us in the audience really, to be highly skeptical, only to declare: that’s how we gotcha.

The title character (Kelvin Harrison Jr.) is a prized high school student: a model student, athlete, and debater. He’s got loving adopted parents (Naomi Watts, Tim Roth) and a concerned mentor in the form of his history teacher, Ms. Wilson (Octavia Spencer). But not all is as hunky-dory as it seems. Ms. Wilson is worried that something dangerous might be lurking under the surface when she discovers some fireworks in Luce’s locker. The hubbub that ensues has me constantly thinking, “All this over fireworks?” But of course there’s more to it than that. Ms. Wilson has given her students an essay assignment in which they must assume the perspective of a historical figure. Luce chooses a war criminal, which is unnerving to some because he was trained as a child soldier in Eritrea before he was adopted.

This setup is ripe to touch upon the pressure of expectations (either good or ill) based on stereotypes. But most of Luce feels ill-equipped to handle that, opting instead for melodrama and overwrought hand-wringing. I frequently wanted to yell, “Is anyone in this movie an actual person?!” Throughout it all, though, my attention is held, if for a while only because of the baroque score courtesy of Geoff Barrow and Ben Salisbury (hot off their indelible work on Annihilation). The secrets are exposed, with multiple layers needing to be ripped away, and the game is complete. By the end, it is still a weird mix of high and low stakes, but it manages to be a masterclass in filmmaking manipulation.

Luce is Recommended If You Like: Having your expectations upended

Grade: 3.5 out of 5 Fireworks