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As gripping as it is upsetting, Fresh makes a provocative meal out of the horror of modern dating.

It'll be tough for some viewers to swallow, but if you're in the mood for some smart, creative gore, Fresh satisfies.

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‘Fresh’ Review: Sebastian Stan Is Captivating as Charismatic Maniac in Sleek and Stylish Horror Debut

Natalia winkelman.

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Editor’s note: This review was originally published at the 2022 Sundance Film Festival. Searchlight Films releases the film on Hulu on Friday, March 4.

About thirty minutes into “Fresh,” a deliciously jangly horror movie, the opening credits roll. Up until then, the movie, which premiered in the Midnight section of the Sundance Film Festival, unfolds like an edgy romantic comedy. In the opening scene, Noa (Daisy Edgar-Jones, with a bite) shows up for an app date, which turns out to be a dud: A vain cheapskate who’s brusque with the waiter, the guy tells Noa between bites of their meal that her sweater looks shlumpy and a dress would suit her better. Reading the disagreeable signs, Noa bids him a polite goodbye, but not before Mr. Conceited Civility, upon rejection, can shout, “Good luck finding a guy, you stuck up bitch.”

This sort of bait-and-switch becomes a key ingredient in “Fresh,” Mimi Cave’s classy and clever feature directorial debut. Written by Lauryn Kahn, the movie is framed as a parable of the anxieties of modern dating, of how truly impossible it can feel for (straight) women to catch a break. It’s a familiar setup, and one that’s vulnerable to the traps of heavy-handedness and cliche. But unlike recent predecessors — “Promising Young Woman” and the short story “Cat Person” come to mind — “Fresh” doesn’t wholly aspire to be a feminist arrow to the heart of today’s heterosexual dating scene. More so, it uses its central idea as fodder for stylish black comedy. Where “Promising Young Women” tended to feel labored and clumsy, “Fresh” is sleek and nimble, a worthy new entry into the feminist revenge thriller genre.

Many of the movie’s comic pleasures are thanks to Sebastian Stan , who, invitingly clean-cut and bashful, plays a Texan surgeon named Steve whom Noa meets and exchanges endearing conversation with in an unlikely place: the produce aisle of the grocery store. “I didn’t think people met people in real life anymore,” Noa marvels later, gushing about the meet-cute to her best friend, Mollie (Jojo T. Gibbs). Even so, early dates with Steve go well, and Noa grows cautiously excited. When her new paramour asks for a weekend getaway together, Noa graciously accepts. Has she finally struck gold? It’s here that we reach the opening credits, and the movie spins into nail-biting suspense and terror.

At this point in the movie, Mollie seems to be getting the short end of the stick. Noa’s best (and seemingly only) friend, Mollie is Black and queer, a token sidekick character whose personal life, job, and dating prospects we learn almost nothing about — though we do know that she’s prone to too-loudly encouraging Noa to “get that D.”

But as the story continues, and Steve — no surprise here — turns out not to be the sweet guy he promised, both Mollie and Noa’s characters are given space to deepen. Edgar-Jones, who most notably played Marianne on Hulu’s “Normal People,” is an absorbing screen presence, taking a role that could’ve been played as dopey — the romance cynic who falls for the gentleman — and injecting it with a quiet psychological intensity. Mollie, too, becomes a character to root for independently, which is at least better than only existing as a cheerleader for her sensitive white bestie. In one scene, after Mollie can’t reach Noa for several days, she tells a Black friend that she’s worried but is reluctant to involve police in her search. “Why? She’s white, right?” he jokes in response. Mollie rolls her eyes knowingly.

But as far as performances go, it’s Stan who gets the most time to shine. Dancing around the kitchen lip-syncing to oldie pop songs or just cutting up juicy red meat for dinner, Steve sparkles with smarmy, maniacal energy, like a kind of sophisticated Tyler Durden who’s traded fight clubs for business ventures. He can play the nice guy, but beneath the chivalry he’s hungry for power, and seizes onto it like a snarling dog with a bone.

The movie is also handsomely shot. Settings are depicted in rich dark hues and feature a modern, minimalistic design aesthetic punctuated by slabs of stone and concrete. Cave has an imaginative sense of camera placement, and she’s an expert at inserting ultra-close-up shots at precisely the right moment to induce a laugh, gasp, or shiver. Her camera is always in service of the story, rather than distracting from it with artifice. That’s not to say that there aren’t visual jokes — there are, frequently — but to give them away here would be to spoil the fun.

Except for a couple of on-the-nose lines, “Fresh” wisely chooses show over tell. At the end of the bad-date opening scene, as Noa is walking dejectedly back to her car, she notices a shadowy figure approaching. She fumbles with her keys, hoping to have a form of self defense in case of emergency. Suddenly, the figure enters the light of a lamppost — and is revealed to be a smiling father with his kid in a baby carrier. Sometimes, “Fresh” seems to say, a supposed threat turns out to be nothing. Then again, sometimes it’s not.

“Fresh” premiered at the 2022 Sundance Film Festival. Searchlight Pictures will release it on Hulu on March 4.

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‘Fresh’ Review: Sebastian Stan and Daisy Edgar-Jones Star in a Horrific Story About a Bad Date | Sundance 2022

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Much has been said when it comes to the realm of modern dating. Romance is dead, love is manufactured, people put on a persona. Many long for the "old days" of bumping into someone at a bar or a party or, in Noa's case, at the grocery store. Noa ( Daisy Edgar-Jones ) is your average young person trying to navigate the dating scene today. Between swiping right on Chads who comment on how she should try wearing dresses to accepting that living life alone might be a better alternative, finding love is a struggle.

Enter Steve ( Sebastian Stan ). Charming, funny, and undeniably hot, he seems to be the perfect package. Not only is he an impressive plastic surgeon, but he's not tied to social media and seems to be totally okay meeting someone the old-fashioned way. The two bump into each other at the produce aisle of a grocery store, and the rest is, as they say, history. Post-meet-cute, they go on a date before tumbling into bed for a hook-up. Soon, he's whisking her off to a cabin in the woods for a getaway that seems like the perfect ending to a rom-com.

Except, while Fresh has both romance and comedy elements, it is most firmly placed in the horror category, and it takes a very sharp turn for our hero, Noa. What seems to be the perfect courtship is turning into the relationship of nightmares. In a story about control, domination, and consumption, director Mimi Cave offers up an exciting new twist on a familiar story.

RELATED: Sebastian Stan on ‘The 355,’ His Next Appearance in the MCU, and Why He’ll Always Love the Three-Way Fight in ‘Civil War’

There are many elements of Fresh that hardly fit its namesake. The trope of charming guy turned twisted killer is a tale as old as time, and any true-crime aficionado knows there is truth to the fiction. The take on the exhaustion of modern romance is similarly familiar ground; most sitcoms and dramedies today have something to say about the perils and annoyances of Tinder, Hinge, and Bumble. Even Steve's true motives and proclivities have been infamously explored in horror, though the reveal is quite surprising.

However, Cave takes these familiar elements and mishmashes them together in a way that feels...fresh. The camera is kinetic as it follows a roguish but somewhat manic Steve around, swinging to-and-fro. It snaps back and forth between events happening in the present and those in the near future. It is rarely overt or obtrusive, but when Cave wants you to know that she's making a statement, she states it out loud. This direction is bolstered by Lauryn Kahn 's witty script. The humor is filled with puns but not in a dad-at-a-barbecue kind of way, it's extremely dark, and yet you can't help but spare her a chuckle. Noa and Steve are funny together, and although Steve is clearly a psychopath, Stan is insanely enjoyable to watch. He really relishes every line once the mask comes off, and he's able to embrace who he really is in front of Noa.

Edgar-Jones is impressive, and as the stakes get higher, so does the cat-and-mouse game between her and Steve. As she formulates a plan, Edgar-Jones adds layers to her performance. At times, it's hard to tell what is the truth and what isn't, which feeds into both the themes of the film and the impressiveness of her talent.

But, Fresh is not without its flaws. Yes, the film rehashes familiar tropes and as an added bonus has a perfect quirky soundtrack to boot. But, toward the third arc, it falters just a bit. Fresh operates best when it's not trying to overtly make a statement. It loses some subtlety in favor of victorious moments, and it's a shame because if those bits of fat were trimmed off, the audience would still be able to put together the message. Fresh is an allegory, which means it requires some afterthought and contemplation, dishing out the obvious detracts from the cleverness.

For Cave's first feature, Fresh is still wildly enjoyable. The concept is an exciting new vehicle for a spin on some well-worn tropes, giving them a facelift for today's audiences. If this is just the beginning, then the future looks bright.

Fresh premiered at Sundance this week, and is scheduled to be released on Hulu on March 4.

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Fresh Review: A Spectacularly Twisted & Disturbing Film

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Fresh is easily the most disturbing and twisted film I've seen in a long time. A woman tired of the online dating scene meets a handsome stranger at the supermarket. A whirlwind romance leads to a weekend getaway with a horrific outcome. Fresh had me laughing out loud. Then gasping in abject disgust. The film's subject matter is beyond macabre. Don't watch Fresh on a full stomach.

Noa (Daisy Edgar-Jones) is a sweet and friendly woman who's had bad luck dating. Every guy she meets online and in real life is a jerk. A chance encounter at her local supermarket seems like a dream come true. Steve (Sebastian Stan) is a handsome, funny doctor oozing charisma. Noa falls into his arms happily. Her best friend, Millie (Jonica T. Gibbs), is highly skeptical. Steve has no social media presence whatsoever. Noa finds that refreshing. She quickly agrees when Steve asks her to his cabin for the weekend.

Noa is intimidated by Steve's sophisticated taste. She can't get a cell phone signal. His wireless network is also not working. She discounts every warning sign. They did want to get away from it all. Noa wakes up after a cocktail from Steve. The terror of the situation sinks in. She begs Steve not to rape her. Steve calmly replies that he's not going to sexually assault her. He and his clients just want her for dinner.

From Romance To Cannibalism

Fresh goes from bubbly romance to repugnant cannibalism in an instant. Director Mimi Cave, in her feature debut, channels an American Psycho approach to Noa's heinous predicament. Sebastian Stan sings and dances to eighties music as he works in the kitchen. Joyfully slicing delectable cuts of tasty flesh. These scenes are darkly comedic. You can't help but laugh at his meticulous preparation.

Noa's captivity takes many unexpected turns. Daisy Edgar-Jones goes on an emotional and physical rollercoaster ride. What begins as relationship bliss transforms into cunning survival. Noa must use every tool at her disposal to manipulate Steve. Fresh's second act shocks on multiple levels. Psychological subterfuge is accompanied by a return to romance and butchery. These scenes are riveting. They're revolting as hell, but you can't tear your eyes away from the screen.

Related: Against The Ice Review: Survival Drama Fails To Be Compelling

Mimi Cave and screenwriter Lauryn Kahn skewer modern dating culture. Noa would never get into a car with a stranger. But loneliness and frustration with digital interactions allow her to be easily duped. She lets her guard down because Steve was simply a nice guy. It never occurred to her that he was too good to be true. Noa curses her stupidity. This mistake often proves fatal for women. Not vetting a partner could make you the main course.

Fresh succumbs to horror genre tropes in the final act. I had major issues with the resolve. The characters behave unrealistically in an obvious fight or flight encounter. That's disappointing because Fresh had been so original and clever, but it's an astonishing experience overall. The vegan ranks will swell after this one. Avoid Fresh at all costs if you're squeamish.

Fresh is a production of Legendary Pictures and Hyperobject industries. It will premiere on March 4th exclusively on Hulu from Searchlight Pictures.

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Fresh (2022)

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Fresh Movie Review: An Intense Thriller That Subverts Expectations

January 23, 2022 By Ashley Leave a Comment

Debuting at Sundance 2022, Mimi Cave's debut full length film Fresh is an intense psychological thriller that breathes new life into the genre. Take your expectations and throw them out the door, Fresh is just that, a fresh look at a dark and twisted corner of society.

Fresh Movie Review 2022

Fresh begins like any other romantic comedy, a slightly awkward girl Noa (Daisy Edgar-Jones) is sitting through an awful first date with some guy she matched with on an app. Afterwards she tells her best friend Mollie (Jojo T. Gibbs) she is over the whole dating scene. Cue the cute grocery store meetup with the attractive and charming Steve (Sebastian Stan). They exchange numbers and end up in bed together. When he suggests a weekend getaway she eagerly agrees, not knowing where exactly they are going. They arrive at this secluded house in the woods that conveniently has terrible service. During the first night he spikes her wine and in a fog she passes out. The credits roll and what follows is an entirely different film than the one portrayed in the first 25 minutes.

Steve has an unusual appetite for women and Noa is his latest catch. As is the audience, because Fresh lures you in and refuses to let go throughout the entire runtime. Cave deftly subverts all expectations, taking a fresh approach to a trope that is well known. She toys with the tone, presenting playfulness and comedy all the while firmly establishing without a doubt that this is a horror film. This is a nuanced look at the perils of modern dating and the fears women face on a daily basis. The result is a chilling and absolutely exciting foray into the war between men and women.

Part of the reason Fresh is so intoxicating are Cave's directions and Lauryn Kahn's clever script. The camera work is dynamic as it seemingly goes rogue like Steve before snapping into a closeup as a reminder that those delightful 80s style montages are not to be trusted. Cave's directing style that feels playful yet sharp pairs nicely with the equally funny and darkness of Kahn's writing. Her humor may seem a bit morbid but the cast delivers it in a way that you cannot help but laugh. The other reason this movie is phenomenal comes down to the main characters.

Steve is Sebastian Stan's darkest role yet and he delivers a performance that is equal parts terrifying and intriguing. He is so brilliant in this role, easily changing between Steve's charming and sinister sides, it is impossible to look away. Even when the more grotesque moments occur. Edgar-Jones is fierce as Noa who goes from being unsure of herself to formulating a plan to escape the horrific situation she finds herself in. There is a moment when she breaks down, realizing for the first time what happened to her that will take your breath away. Her portrayal of Noa is a layered one and it is impressive the way she keeps the audience and Steve guessing her true motives until she's ready to reveal them.

True there are many elements of this story that are hardly new, but it is the way in which Cave and Kahn present them that is quite surprising and fascinating. Although Fresh gives into familiar tropes towards the very end, after everything that occurred before that point it still feels honestly satisfying. After all, it is nice to see the women in this genre take back their lives both figuratively and literally from the men who seek to consume them.

Thankfully, on-screen gore is kept to a minimum, mostly allowing only a look into the final results of Steve's obsession. However, this film could put you off of meat for a while, or permanently. Weak stomachs beware.

At the end of the day, Fresh is just that, a fresh new romp through an oftentimes worn-out trope. It is deliciously evil, insanely enjoyable to watch as it takes viewers' expectations and turns them on their heads. Fresh is bound to be an instant classic horror film who's greatness future filmmakers will aspire to. After viewing Cave's incredible handiwork here, she is definitely one to watch in the future.

Fresh premiered at Sundance this week, and is scheduled to be released on Hulu on March 4. It is Rated R or strong and disturbing violent content, some bloody images, language throughout, some sexual content and brief graphic nudity with a runtime of 1 hour 54 minutes.

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Daisy edgar-jones and sebastian stan in ‘fresh’: film review | sundance 2022.

Mimi Cave's horror thriller is about a young woman who falls for a dashing doctor only to discover he's hiding a stomach-churning secret.

By Angie Han

Television Critic

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Broken down into its constituent parts, there’s much about Fresh that seems familiar. You might see Promising Young Woman in screenwriter Lauryn Kahn’s scathing commentary on the horrors of modern dating, or Get Out in her shrewd use of horror tropes to amplify them. There are shades of American Psycho in its acid sense of humor, and Hannibal in its taste for luxury.

But director Mimi Cave, in her feature directorial debut, corrals these influences into a film that lives up to its title. If Fresh stumbles on the way to its own finish line, it’s still a hell of a way to launch a career.

Release date: Friday, March 4 Venue: Sundance Film Festival (Midnight) Cast: Daisy Edgar-Jones, Sebastian Stan, Jojo T. Gibbs, Charlotte Le Bon, Andrea Bang, Dayo Okeniyi Director: Mimi Cave Screenwriter: Lauryn Kahn

The first act of Fresh plays more or less like a rom-com. Just when Noa ( Daisy Edgar-Jones of Hulu’s Normal People ) decides she’s fed up with dating, she meets Steve ( Sebastian Stan ), a handsome plastic surgeon who shares her taste for Old Fashioneds and dark jokes. (On their first date, they toast ironically to the fact that both of them have dead parents.)

Full credits

Venue: Sundance Film Festival (Midnight) Distributor: Searchlight Pictures Production company: Legendary Entertainment, Hyperobject Industries Cast: Daisy Edgar-Jones, Sebastian Stan, Jojo T. Gibbs, Charlotte Le Bon, Andrea Bang, Dayo Okeniyi Director: Mimi Cave Screenwriter: Lauryn Kahn Producers: Adam McKay, Kevin Messick, Maeve Cullinane Executive producers: Lauryn Kahn, Ron Mcleod Cinematographer: Pawel Pogorzelski Production designer: Jennifer Morden Editor: Martin Pensa Music: Alex Somers

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Common Sense Says
Parents Say 6 Reviews
Kids Say 14 Reviews

Common Sense Media Review

Cleverly dark but violent, gruesome horror movie.

Parents Need to Know

Why Age 17+?

Movie centers on a woman who is taken prisoner by a guy she had started dating,

Strong profanity throughout. "F--k" often used. Also "motherf----r" and "c--t."

Man sends lead character a photo of himself touching his erect penis via direct

Lead character's cocktail is drugged by villain, resulting in her passing out an

Any Positive Content?

Diversity in gender, race, sexual orientation. Movie plays with horror movie con

In its own macabre way, this dark horror movie is a distinctly feminist comment

Movie plays with conventions of both serial killer horror movies and the dating

Violence & Scariness

Movie centers on a woman who is taken prisoner by a guy she had started dating, chained up with other women who are slowly being cut up, their flesh turned into meat to be consumed by ultra-wealthy men willing to spend a lot to eat fresh human meat. Lead character's buttock meat is removed. Lead character is drugged before being taken prisoner. During oral sex, a man's penis is bitten off; lots of blood and screaming. Characters shot, stabbed, beaten bloody. After discovering she's chained in a windowless room, lead character asks villain if he's going to rape her. Villain shown slicing human flesh from a limb kept in refrigeration, pounding it with a meat tenderizer, eating some; villain later insists that the lead character sample human flesh as a "delicacy." Close-ups of bloody incisions.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Strong profanity throughout. "F--k" often used. Also "motherf----r" and "c--t." "P---y," "t-ts," "d--k," "s--t," "bitch," "ass."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Sex, Romance & Nudity

Man sends lead character a photo of himself touching his erect penis via direct messaging on a dating app -- also includes sleazy sexts. Passionate kissing between lead character and a man she starts dating -- implied sex when they wake up next to each other while scantily clad. When lead character tells her best friend about the encounter, the best friend says, "Get that d!" Lead character pretends to be romantically and sexually attracted to villain; they passionately kiss and seem to be on verge of engaging in oral sex when movie takes an even bloodier turn. Brief female nudity (buttocks).

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Drinking, Drugs & Smoking

Lead character's cocktail is drugged by villain, resulting in her passing out and waking up chained in a windowless room. Cocktail drinking during a date: Characters shown getting tipsy as they get better acquainted. Wine drinking.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Diverse Representations

Diversity in gender, race, sexual orientation. Movie plays with horror movie convention of Black characters usually among the first to be slaughtered. Toxic masculinity is a central theme.

Did we miss something on diversity? Suggest an update.

Positive Messages

In its own macabre way, this dark horror movie is a distinctly feminist comment on violence against women and empowerment.

Positive Role Models

Movie plays with conventions of both serial killer horror movies and the dating life in romcoms. Characters -- for all their strengths in figuring out how to fight back -- don't emerge as positive role models.

Parents need to know that Fresh is a 2022 horror movie in which a single woman discovers that the "nice guy" she has started dating is actually a consumer and seller of human flesh. There's considerable violence: After the lead character is drugged, she wakes up chained in a windowless room. When she tries to fight back, the villain removes some flesh from her buttocks. While seemingly on the verge of engaging in oral sex, a woman bites off the penis of her partner, her face shown covered in blood as the man shrieks in agony. Limbs are shown hanging in meat lockers. The villain is shown tenderizing human flesh and later forces the lead character to try some, since she has feigned interest as a way to try to escape. Besides the cannibalism, there's horror movie violence as characters shoot, stab, and beat each other until bloody. While on a dating app, the lead character is subjected to an image of a man's erect penis, along with creepy sexts. Strong language throughout includes "f--k," "c--t," and "motherf----r." The movie also has implied sex and passionate kissing as well as cocktail and wine drinking. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

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Parent and Kid Reviews

Parents say (6)
Kids say (14)

Based on 6 parent reviews

What's the Story?

In FRESH, Noa (Daisy Edgar-Jones) is a single woman who's tired of bad dates and creeps on the dating apps. It seems that her luck changes for the better after meeting the charmingly vulnerable Steve ( Sebastian Stan ) at the grocery store. After a date in which they really seem to hit it off, Noa confides in her best friend Mollie that she thinks that she has finally met a great guy, and even tells her that she and Steve are going to go on a weekend getaway. When Steve picks Noa up for the trip, he tells her that they have to stop off at his house first. While hanging out and drinking a cocktail he has made for her, she finds herself getting sleepy and passes out. She then wakes up chained in a windowless room. She soon discovers who Steve really is: a sociopathic cannibal who makes his living selling the meat of living female human flesh on the black market to wealthy men willing to pay top dollar for this "delicacy." Shocked and traumatized, Noa struggles to make sense of her predicament and discovers that other women are also being held prisoner in Steve's house. As Mollie grows increasingly concerned over Noa's whereabouts, Noa must find a way to fight back without incurring Steve's violent and cannibalistic tendencies.

Is It Any Good?

This is a disturbing, dark, and gruesome horror story that keeps the viewer guessing as it plays with the conventions of horror movies and romcoms. Fresh strikes a fine balance between blood and gore, story and message, and unsettling scenes offset by macabre humor. While so many horror movies (and romcoms) lazily plod along down well-trodden paths of clichés and predictability, Fresh reveals itself to be as aware of the tropes as you are (if not more so) and messes with these expectations without being smug about it.

This story of a romcom that goes horrifically and cannibalistically wrong takes an obvious strong feminist point of view as the scares, blood, and gore of the story offer a serious commentary on toxic masculinity and violence against women. The story, acting, and direction keep this message from overwhelming the story through preachiness, and the dark humor helps make the message a little easier to, well, consume. Overall, it's a unique combination of two genres not exactly known for their originality.

Talk to Your Kids About ...

Families can talk about the deeper messages behind Fresh . How does the movie use the story to comment on toxic masculinity and violence against women?

How does the movie play with the clichés and expectations of both horror movies and romcoms?

Was the graphic violence excessive, or did it seem necessary both for the story and for the movie's overall message? Why?

Movie Details

On DVD or streaming : March 4, 2022
Cast : Daisy Edgar-Jones , Sebastian Stan , Jojo T. Gibbs
Director : Mimi Cave
Inclusion Information : Female directors, Female actors, Queer actors, Black actors
Studio : Hulu
Genre : Horror
Run time : 114 minutes
MPAA rating : R
MPAA explanation : Strong and disturbing violent content, some bloody images, language throughout, some sexual content and brief graphic nudity.
Last updated : May 8, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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‘Fresh’ Film Review: Sebastian Stan Plays a Mr. Right Who’s All Wrong in Deliciously Creepy Horror Tale

First-time director Mimi Cave takes the audience on an emotional roller coaster, one that’s both thrilling and stomach-churning

This review of “Fresh” was originally posted Jan. 21, 2022 from the 2022 Sundance Film Festival.

It takes a long, long time before the so-called “opening credits” roll in Mimi Cave’s decadently horrifying directorial debut “Fresh.” That’s probably because, as wonderful as the film’s first act is, we ain’t seen nothing yet.

“Fresh” begins with the latest in what seems to be a long, long line of crappy online dates for Noa (Daisy Edgar-Jones, “Normal People”). She hates the modern courtship process — and with good cause — but, dang it, it’s the 21st century, and her options seem limited to swiping right and hoping for the best or a lifetime of lousy loneliness.

So it’s something of a shock when she actually meets a real live person, in a real-life grocery store, who shows an interest her and doesn’t seem like a total sack of crap. Steve has great taste in produce (yes, cotton candy grapes are real, and they’re fantastic ) . He’s also got a great sense of humor, and he’s a doctor, and he looks just like Sebastian Stan, so he seems like he might be a winner. He even eschews social media because it’s gauche and he’s oh so romantic and he wants to take Noa on a surprise weekend getaway to a mystery location and…

Whoa, red flags. Red flags! Noa’s best friend Mollie (Jojo T. Gibbs, “Twenties”) almost derails this whole movie when she points out that, in this day and age, not having any way to track a person’s identity online, coupled with a sudden desire to move to what can only be called “a second location,” is extremely suspicious.

But Edgar-Jones and Stan have such palpable, effortless chemistry, and the nimble script by Lauryn Kahn (“Ibiza”) keeps the warning signs tucked so snuggly beneath a weighted blanket of Noa’s relief from humdrum contemporary dating anxiety, that we don’t look down on her for taking a chance and going away with Steve after all. Maybe everything will be fine! Sure, there’s no cell phone service, but — uh-oh, that’s actually never a good sign.

What happens next may be slightly predictable, if only because we’re in a horror movie, but like James Wan’s awe-inspiring “Malignant,” the real surprise doesn’t stem from the plot. Presentation is what counts. Yes, it’s grotesque. Yes, it’ll make your stomach churn. But best/worst of all, Mimi Cave will not stop trying to recapture the early, whimsical romantic connection between Noa and Steve, to the point that the true discomfort comes not from any mangled flesh but from the film’s continued attempts to make nice with a flesh-mangler.

Structurally, “Fresh” has a lot in common with abduction films like “Misery” and “The Human Centipede,” where the villain’s bizarre obsessions drive the story, and mutilation is a natural (albeit terrifying) extension of their pathology. And like many other films which share some DNA with “Fresh,” it’s the villain who takes center stage. We haven’t seen Sebastian Stan operate on this level of camp showmanship since the climax of Renny Harlin’s “The Covenant.” He’s appealing when he takes himself seriously. He’s a movie star when he gets to have fun.

Daisy Edgar-Jones has a more complex assignment. She must endure grotesque indignities while, in defiance of all her better instincts, making nice with a total creep. And the creep is no fool. The only way to convince him that she’s into his bizarre fetishes is to be so convincing that the audience starts to wonder if maybe, just maybe, she actually is. That’s another level of gruesome that “Fresh” throws on the tower of terrors, just in case anyone thought it wasn’t high enough.

Cinematographer Pawel Pogorzelski should be a household name by now for horror enthusiasts, having developed morbidly absorbing yet dynamically opposed visions for both “Hereditary” and “Midsommar.” His work in “Fresh” captures the intimate appeal of a romantic comedy, the stark isolation of a kidnapping thriller, and a fantastical representation of gore that tries, in a truly unnerving way, to make it look as appealing as Steve thinks it is. There’s nothing more gross than gross-with-a-garnish.

“Fresh” raises quite a few questions it never bothers to answer, unless of course a sequel is in the cards, but its power doesn’t come from its plot. Like the best first dates, and the best midnight movies, it all comes down to personality. Mimi Cave knows how to captivate and how to repulse, usually at the same time. She knows how to make us laugh and hate ourselves for laughing. “Fresh” is a breakneck emotional roller coaster, and like many roller coasters, it’ll also make your stomach churn.

“Fresh” is now streaming on Hulu.

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Definitely written slyly with a female POV, it isn’t really until the last act that the revenge moments start taking hold, a formula we have seen recently in other female-fronted suspense thrillers like last year’s Best Original Screenplay winner Promising Young Woman and 2020’s The Invisible Man with Elisabeth Moss taking the reins. It actually starts out like any other romantic comedy as we watch Noa ( Daisy Edgar-Jones of Normal People ) suffering through a first date with a real drip and obnoxious guy. When she tells him after their dinner that it isn’t going to work out he calls her a bitch, says she is not his type, and storms off. Noa just isn’t lucky in love, and not fond of the dating games as she tells her best friend Mollie (a lively Jojo T. Gibbs).

Lo and behold, an ordinary trip to the supermarket though is where she meets cute with a guy named Steve ( Sebastian Stan ) who comes off as a real charmer when they bond over grapes. He asks for her number and in no time they have landed in the sack — clearly a budding romance is blooming. When he suggests they get away for the weekend to a spot he keeps as a surprise she is so smitten she says yes. Soon they arrive at his lavishly designed private getaway where on the first night he keeps spiking the wine for her. As she descends into a fog and finally passes out, the opening credits roll about 25 minutes into the movie. The following hour and half are a completely different flick altogether.

So without going into gross detail (a warning appears at the beginning that the film contains gore and violence), it turns out good ‘ol Steve just ain’t what she thought, and in fact has an unusual appetite for women. In fact as we will learn he found himself so consumed by women at an early age that he just couldn’t help consuming them. Yes, Noa said yes-a when she should have said, uh, no-a. She has wandered into this guy’s house of horrors and discovers she is not his only potential victim. She should have listened to BFF Mollie’s red-light warning upon learning he had no Instagram account. Failing to get texts from Noa in fact, Mollie goes on the hunt, and that is when things get serious.

Cave directs skillfully, all with a wry eye and sense of play, and the sexual politics are nicely on display with some sharp observations in the war between men and women, but even Lecter might be repulsed at what goes on here, not just for Steve’s kinky pleasure, but as a business he runs where the customers will clearly set the image of men back a few hundred years. But isn’t that kind of the point? After being slashed and trashed in genre movies almost since Hollywood began, it is actually nice of late to see the tables turned for women when they get a chance to give as good as they get in this kind of thing. Fresh may not exactly live up to its title as it caves (sorry Mimi) to familiar tropes of the horror genre in its second half, but in playing with the whole theme of consumption in all its meanings Kahn’s outrageous script has points to make.

Edgar-Jones plays it for all its worth, and Stan clearly has taken courses at the Norman Bates School for Psychos. Charlotte Le Bon has a few good moments as a victim who found a way to survive, and Dayo Okeniyi is pretty funny as Mollie’s bartender buddy who wants no part of this sh*t. Producers are Adam McKay and Kevin Messick.

Even though the actual on-screen carnage and carving is kept to a minimum so we just see the end results of Steve’s handiwork, I would strongly caution those with weak stomachs to beware.

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Review: Horror gets a complete and undoubtedly satisfying reworking in ‘Fresh’

A man and a woman in a restaurant booth in the movie “Fresh.”

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There’s something about a horror film that takes pride in being a horror film. “Fresh,” the debut feature from longtime music video director Mimi Cave, knows this and plays with genre in a way that is devilish and delightful — and never from a place of posturing.

Daisy Edgar-Jones stars as Noa, a woman who has seen the highs and lows (particularly the lows) of dating, from unsolicited pics of guys’ genitalia to indoor-scarf-wearing Chads . When she serendipitously meets the sincere and charming Steve ( Sebastian Stan ) — in the produce aisle of a grocery store, of all places — things seem almost too good to be true, with her best friend, Mollie (Jojo T. Gibbs), dubiously remarking, “It’s a straight girl’s fantasy come true!”

While the film’s first 30 minutes set up the modern horrors of dating for the 30-something set and the expected redemptive narrative arc, “Fresh” upends itself (and its audience) with a sudden tonal shift that resolutely punctures the story world we knew, setting into motion instead a horror film that confidently refreshes generic conventions.

With a sharply energetic script from comedy screenwriter Lauryn Kahn , “Fresh” willfully borrows from both comedy and horror in a way that destabilizes the use of each. It flirts not only with total disruption of audience expectation, but also with the boundaries of obscenity as it lands beat after beat of light-on-its-feet humor within a story world that is in all ways macabre. As too does its visual style, which is just as playful, amorphous and intentional as its script.

While both stylish and mischievous, it also knows when to pull back, allowing for moments of vulnerability and a chance to sit with Steve’s horrific nature. In comparison to a film like “I, Tonya” (coincidentally another Stan vehicle), “Fresh,” despite its consistent boundary-pushing, knows how to use its visual style and tone effectively. Here, violence against women is not reveled in, or embellished by an all-too-gleeful cinematography, but rather it rejects certain forms of visual spectacle (while leaning wholeheartedly into others) in a way that stands with, even cheers for, its women characters.

While we are absolutely witness to the gruesome and grotesque here — this is certainly not a film for the faint of heart — “Fresh” knows exactly when and when not to push into its own lurid nature. As the film’s final act ramps up, it is aware that its own stakes are too high not to invest full-heartedly in its final girls. Just as the film knows we are able to delight in the comic heights of Stan’s fantastically rendered Steve, it recognizes that we would take even more pleasure in the downfall of such a despicable man.

“Fresh,” without a doubt, has a bounty of vision and personality, but it’s also a wonderful study in an almost rabid compartmentalization in terms of its story world, its characters and its viewers. It asks us to laugh in the most hideous of situations and to humanize the inhumane without losing sight of its own call for not just rightful vengeance but collectivity. It doesn’t just offer up the most palatable aspects of horror as a genre; instead, it pushes it to its limits through a complete, and undoubtedly satisfying, reworking.

'Fresh'

Rated: R, for strong and disturbing violent content, some bloody images, language throughout, some sexual content and brief graphic nudity Running time: 1 hour, 54 minutes Playing: Available March 4 on Hulu

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Fresh’s Opening Credits Twist Makes Cannibalism More Sick

Fresh's 10 biggest unanswered questions, how fresh subverts the final girl horror movie trope.

Noa outsmarts cannibal boyfriend Steve in the Fresh ending, flipping the narrative in a twist ending that empowers the victims.
Steve preys on isolated women without strong ties, illustrating a chilling reality of online dating dangers.
Fresh 's finale delivers a social commentary on power dynamics, showcasing women banding together for survival.

The Fresh ending explained the subtext of the horror-comedy and how it explores the pitfalls of online dating. Sebastian Stan stars as Steve, the seemingly charming new boyfriend of Noa (Daisy Edgar-Jones). Noa is disillusioned by the online dating process. Fresh opens with her on a date with a man she met on an app, who talks down to the waiter, insults her clothes, and even steals the food that he made her pay for herself. She complains to her best friend Mollie (Jonica T. Gibbs) about her lack of success with dating, and Mollie tells her to adopt a " f*ck it " attitude.

Soon after, she meets Steve at the grocery store. They hit it off immediately and start dating, but after she agrees to go on a trip with him, she quickly learns that he has cannibalistic urges. Steve kidnaps women and cuts off pieces of their bodies to sell as meat, keeping them alive as long as possible to " keep the meat fresh ." Noa, Mollie, and Penny ( Kim's Convenience star Andrea Bang ), another of Steve's victims, must fight for their lives to escape from him by the time the Fresh ending arrives.

Sebastian Stan Fresh Cast and character guide

Fresh Cast & Character Guide

Starring Daisy Edgar-Jones and Sebastian Stan, Fresh exposes the horrors of online dating. Here are the rest of the thriller's cast and characters.

Fresh's Ending Explained

Noa turns the tables on steve using his own tactics.

As the Fresh ending explained, Steve uses his good looks and wit to seduce women, who he plans to later sell to high-end clients as meat. After figuring out that Steve likes her, Noa turns up the charm and convinces him that she wants to be with him, despite the fact that he's taken her prisoner to sell her body for meat.

Noa uses Steve's own tactics against him as a first step to taking back her power

In the movie, Stan's charming serial killer takes her on a special "date" and shows her the wall of "trophies" that he keeps from his victims — among which is Mollie's cell phone. Noa seduces Steve over the course of the evening and when his guard is down, she goes down on him, taking a page out of his book by biting off part of his penis. Using the opportunity to escape, Noa rescues Mollie and Penny, and they make a run for it.

Noa uses Steve's own tactics against him as a first step to taking back her power, as the Fresh ending explained. She and the other women that he kidnaps are treated like literal pieces of meat. Noa, Mollie, and Penny represent women who have been victims of assault at the hands of men, and when they knock him out in the kitchen and later kill him and his wife, Ana (Charlotte Le Bon), who supports his cannibalism, they represent vindication for those victims.

Fresh 's ending is reminiscent of the ending of Get Out , where Chris escapes the Armitages before they can remove his brain. Steve, like the Armitages in Get Out , commodifies the women's bodies in Fresh , literally removing Noa's butt — a highly desired part of a woman's body — to sell as meat. Like Chris, Noa and the other women have to literally kill their oppressors in order to escape with their lives.

Mimi Cave's thriller Fresh has an opening credits delay, but that only contributes to the clever execution of its disturbing cannibalism twist.

How Does Steve Choose His Victims?

The killer in fresh finds women without strong family ties.

As the Fresh ending explained, when Steve first meets Noa, she is at the grocery store and standing under a sign that reads " fresh meats ." Although this is just a tongue-in-cheek nod to his intentions — finding fresh meat at the grocery store — Noa is exactly the type of person that Steve targets, a method similar to Sweeney Todd, who turns his victims into meat pies . On their first date, she tells him that she doesn't have any family because her dad passed away, and she is estranged from her mother, which tells Steve that nobody will be looking for her.

Steve's targets are women that few people would miss, which has allowed him to make a career out of being a " human butcher ."

Steve also makes sure that Noa hasn't told anyone much about him and seems satisfied that she only told her best friend Mollie that she met a guy. While being held hostage at Steve's house in the woods, Noa learns that Penny, the woman who Steve was holding in the cell next to hers, was seduced in a similar way and also doesn't have anyone in her life to sound the alarm when she goes missing. Steve's targets are women that few people would miss, which has allowed him to make a career out of being a " human butcher ."

Why Is Ann Working With Steve?

Ann is a classic case of stockholm syndrome.

fresh-ann-charlotte-le-bon-cannibal-movie

The Fresh ending explained that Steve's wife Ann has a missing leg when Mollie goes to their house in her search for Noa. Ann is revealed to be helping Steve with his cannibalistic efforts, but also appears to have been a victim of his at one time. In the magazines that Steve gives to Noa while holding her prisoner, there's a note from a previous victim that suggests that giving her the magazines means he likes her.

Although there's no evidence that the note was left by Ann, the note itself serves as evidence that Steve has formed a romantic connection to his victims in the past. Ann represents the victim who ultimately sides with the oppressor, and, worse, who keeps others down to get ahead. She was at one point in the same position as Noa: a woman taken hostage and being mutilated by a man she trusted.

Fresh screenwriter Lauryn Kahn says that Ann represents women who don't support other women.

Where Noa's desire for self-preservation leads her to plot her escape, Ann seems to have warped feelings for her captor. Not only does she empathize with Steve, going so far as to marry and have children with him, but she actively helps him harm other victims. In an interview with The Hollywood Reporter , Fresh screenwriter Lauryn Kahn says that Ann represents women who don't support other women.

Even though she is presumably one of Steve's victims herself, Ann has fully aligned herself with him and even tries to kill Noa for killing him, weighing keeping him happy as more important than the other women he has mutilated and murdered.

Hulu's Fresh provides an original take on the perils of dating and consumer culture - here are the biggest questions left from the mercurial thriller.

Who Are The Men At The Table?

Steve is part of a network of male cannibals.

As the Fresh ending explained, Steve sells his human meat to wealthy clients who pay big bucks to eat his "exotic" product. At the mid-credits, there is a quick glimpse of some of those clients. The men are seated around a table with a pile of bloody human meat at the center. Some are dressed in fancy suits while others are nude, representing how depraved these men actually are. While it's more of an image than a scene, it helps to show that Steve is just one part of a much larger problem.

This is a visual representation of how men often view women as " pieces of meat ," the metaphor that drives the entire film.

The men are literally using women for consumption, which, given their nudity, seems to be a sexual fetish for some of them. This is a visual representation of how men often view women as " pieces of meat ," the metaphor that drives the entire film. To too many men in power, women are viewed as objects, commodities to be traded.

The Real Meaning Of Fresh's Ending

The 2022 horror movie's finale drives home its themes of the perils of online dating.

As the Fresh ending explained, Fresh is a social satire in line with the social commentary of 21st-century horror movies . At its core, it is a critique of the modern dating scene, especially the dangers involved in dating for young, single women. There are many good men out there, but also plenty of dangers and dates that potentially wish to do harm. It also aptly skewers the way men in power disregard the bodily autonomy of women and feel entitled to control women's bodies.

But on a more hopeful note, the Fresh ending explained how women are able to take back their power by working together because no one else will. Three women who are victimized by a man take back their power by literally killing their oppressor.

It is the bond between Noa and Mollie that saves them, rather than a romantic connection with a man.

The women are left to save themselves, after Paul (Dayo Okeniyi), Mollie's friend, drives away from the cabin instead of rescuing the women after he hears a gunshot. But through the women helping and supporting each other, they free themselves despite what Steve has taken from them . In the end, it is the bond between Noa and Mollie that saves them, rather than a romantic connection with a man.

The point is driven home at the very end of Fresh when Noa receives a text from Chad, her disastrous date from the beginning of the film, that simply reads " You up? " Though the horror of Noa's experience with Steve is over, she isn't free from the low-grade horror of modern dating or being viewed as no more than a metaphorical piece of meat.

Fresh is a feminist social satire horror film that doesn't rely on a stereotypical Final Girl commonly utilised throughout the film genre.

Why The Fresh Ending Worked So Well

Noa's decisions are the true genius behind the fresh ending.

Sebastian Stan and Daisy Edgar Jones dancing in Fresh

The Fresh ending explained its overarching meaning clearly, but that's not the only reason it landed. Daisy Edgar-Jones in Fresh is one of the best final girls in a while, who smartly figures out that she and Steve's victims must band together to survive. Fresh is unique as an elevated, yet gory, horror movie , as it artfully plays out its own themes in a digestible way. The final climax crescendos into some satisfying retribution as Noa is able to escape, and Chad's text is a smart way of saying that the "horrors" of being a single woman aren't over.

Fresh is truly a movie that hasn't been done before, and its high stakes are paid off in full by its bombastic ending. The casting in and of itself is perfect, as it's quite, well, refreshing to see Sebastian Stan outside of his usual superhero fare. Fresh is a woman's version of Get Out , and the ending sticks simply because it's so unique, yet its message remains true to life.

How The Fresh Movie Ending Was Received

The final act of fresh was praised less often than the rest of the movie.

Daisy Edgar-Jones stares into the camera

2022's Fresh can be considered a success for Mimi Cave, especially considering it was her directorial debut. The horror thriller currently sits on Rotten Tomatoes with 81% both on the Tomatometer and audience score, showing that the vast majority of viewers and critics alike warmed to the suspense-filled critique of dating in the 21st century and the risks that come with it. However, somewhat surprisingly, in many of the reviews (even the overwhelmingly positive ones) the ending of Fresh is often brought up as a criticism.

While there are few reviews of Fresh in which the ending is outright panned, it has been commented on as being somewhat formulaic — especially to those schooled in horror and thriller movies. Another recurrent point is that the expertly-built tension present throughout most of Fresh kind of fizzles out when Noa realizes how much danger she's in. Reviewer A. Leon gave an in-depth review on their blog, Never Think Impossible , that sums up the general sentiment many critics share:

It’s the confrontation at the end that is built up and tense which I feel works best while it remains inside the house. Once it spills outside, the tension is lost. In a similar way, the characters’ dynamic works better in a cat-and-mouse style on a closed environment but dissipates once they move outside.

Still, there are equally many reviews that do praise the ending of Fresh. It must also be noted that, among fan discussions, it's an aspect of the film that is widely discussed as a positive. There's also an argument that the ending of Fresh works because it sees the tables finally turn on Steve, and fits the core themes of the movie even if it does so at the expense of some of the dread felt in the opening acts.

Not available

Fresh is a Hulu original film starring Daisy Edgar-Jones as a single woman named Noa who is searching for love on dating apps. But after meeting a man named Steve (Sebastian Stan), she agrees to take a romantic weekend trip with him. The only catch is that she discovers he is a cannibal that consumes and sells human flesh.

Action/Adventure
Children's/Family
Documentary/Reality
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Warning: This article contains major Fresh spoilers for the 2022 movie on Hulu. Like, pretty much every spoiler. Only read this if you’ve already watched it, or if you’re really, completely sure that you want to be spoiled for Fresh .

If you think your dating horror stories are bad, just wait until you watch Fresh , a new darkly comedic thriller that began streaming on Hulu today.

Directed by Mimi Cave in her directorial debut, and written by Lauryn Kahn, Fresh first premiered virtually at the 2022 Sundance Film Festival in January and immediately made a splash among festival-goers. Some viewers loved it, others, not so much. (But most agreed that Daisy Edgar-Jones and Sebastian Stan delivered two delectable performances.)

When you get a chance to see the movie on Hulu for yourself, you’ll see why it’s so provocative. This is not a movie for the faint of heart—or the faint of stomach. If you’re dying of curiosity, or if you got last along the way, then Decider is here to help. Read on for the Fresh movie plot summary and the Fresh ending explained.

WHAT IS THE FRESH 2022 MOVIE ABOUT? FRESH PLOT SUMMARY:

Noa (Daisy Edgar-Jones) can’t seem to catch a break when it comes to dating. But after yet another comically horrible date with a man named Chad (Brett Dier) who criticizes her outfit and steals her food, she finally meets a guy she actually likes—a charismatic man named Steve (Sebastian Stan) who asks for her number in the grocery store.

Steve and Noa have a fantastic first date and end up sleeping together. It’s such a good date, in fact, that Noa agrees to go away with Steve for a weekend to a “surprise” location, despite the fact that her best friend Mollie (Jonica T. Gibbs) thinks it’s a bad idea. (Noa doesn’t seem to recognize Steve asking who she has told about him is a huge red flag!) Noa promises to text Mollie the details when she gets there—but when Steve finally tells Noa that they are going to a place called Cottage Grove, there is no cell service. Steve promises the service at his place is better, but Noa still can’t get her text through when she gets there. Sketchy af.

Steve and Noa arrive at his house and have a drink, and it quickly becomes clear Steve drugged her. Noa passes out, and then, thirty minutes into the movie, we get a creepy credit sequence over distorted images from Noa’s point of view in a drugged-out haze. When Noa wakes up, Steve calmly informs her that he drugged her, kidnapped her, and that he’s going to slowly mutilate her to sell her meat to high-end clients who are into cannibalism. He will keep her alive for as long as possible, to keep the meat “fresh.”

While screaming for help in her cell, Noa meets another prisoner through the wall—a woman named Penny (played by Andrea Bang), who, like Noa, doesn’t have any family who would look for her. Penny tells Noa that there is one other woman being held prisoner by Steve, someone named Melissa who has lost her mind. Noa learns that although Steve slept with her, he didn’t sleep with Penny. She is starting to see that Steve likes her.

After charming Steve into letting her out to take a shower, Noa tries and fails to escape. As punishment, Steve cuts off her “ass meat.” While she recovers, Steve gives her some magazines to read—and Noa discovers a note from a previous victim that says, “If you’re reading this, that means he likes you.” Noa turns up the charm to 11 to get on Steve’s good side. She flirts with him, and, most importantly, expresses interest in cannibalism. Steve, flattered by her interest, starts having dinner with Noa and cooking her elaborate meals made with human meat. She impresses him by actually eating and enjoying (or at least, pretending to enjoy) the meals, and gains his trust.

Meanwhile, Noa’s friend Mollie is starting to get worried about her. Using Noa’s phone, Steve texts her that everything is fine, but that service is spotty, along with a picture of a waterfall. Not satisfied by this, Mollie searches the photo of the waterfall and discovers it’s a stock photo. Mollie begins to investigate Steve in earnest and uses an earlier picture of Steve that Noa sent her—taken without Steve’s knowledge, while he was sleeping—to reverse Google Image search him. Eventually, she discovers Steve’s true identity and tracks down his wife. While she visits his wife, Steve comes home and sees Mollie. On her way out, she calls Noa’s phone, and it rings in Steve’s pocket. Steve tells Mollie he wishes she hadn’t done that, and Steve’s wife hits Mollie from behind. Later, when Steve’s wife gets into the shower, we see that she is missing a leg—implying that Steve married one of the girls he kidnapped and mutilated.

Back at Steve’s prison, we see that Noa has been throwing up after her meals. Penny and Noa both hear Steve bringing in a new prisoner, and the audience sees that the new prisoner is Mollie. Noa has another cannibal dinner date with Steve, and she is in top form—smiling, laughing, flirting, and wearing a dress that Steve bought for her. Steve shows her his wall of memorabilia from his past victims and sees his collection of cell phones—including her friend Mollie’s phone, which she recognizes.

WHAT IS THE FRESH ENDING EXPLAINED? FRESH 2022 SPOILERS:

After building an emotional connection with Steve, making him trust her even more—seriously, give her an Oscar for that performance—Noa goes into the bedroom with Steve, ostensibly to have sex with him. She goes down as if to give him a blowjob, and then bites, hard, on his penis, and shoves soap into his eyes. Oop!

Noa locks Steve in the bedroom, steals his keys and her phone, and runs to free Mollie and Penny. It’s difficult to run because Penny is missing a leg, but Mollie and Noa help as best they can. Steve gets out of the bedroom and all three women attack him in the kitchen. They manage to knock him out and escape the house.

Meanwhile, Mollie’s friend Paul (Dayo Okeniyi) uses location-tracking information—which Mollie sent him before she went to visit Steve’s wife—and drives to Steve’s house. But when he hears gunshots—Steve is still alive, and has a gun—he peaces out. The three women are stranded on the grounds, with no vehicle to escape. But they manage to get the jump on him, and they all start viciously attacking Steve. Noa picks up his gun, asks him to smile, and then shoots him in the head.

They think it’s all over… but then Steve’s wife Ann (Charlotte Le Bon) shows up at the house, sees the signs of struggle, and hears the gunshots. Ann finds Steve’s dead body and comes across Noa, who ran back to the house to get her phone. Ann begins to strangle Noa, but Noa manages to stab her with the car keys. Then Mollie shows up to Noa’s rescue, and kills Ann with a shovel, while shouting, “Bitches like you are the fucking problem!”

Noa and Mollie collapse against each other, finally done. They tell each other they love each other. Then, in the final shot of the movie, Noa gets a text on her phone from Chad—aka the terrible date from the movie’s first scene—that says, “U up?” It’s a moment of pure irony that hits home the movie’s theme: Modern dating is hell.

And, for one last moment of gross, disturbing imagery, there is a mid-credits “scene,” of sorts: an aerial shot of Steve’s clients seated around a dinner table of raw, bleeding human meat. Some men are wearing suits, and some are naked. It’s just a final reminder that there are a lot of rich sickos out there in this world. Then a box—not unlike the kind of box Steve used to package the human meat—closes around that image, and the rest of the credits roll.

I don’t know about you, but I, for one, am never eating meat again.

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Question Question - which Movie Streaming website from the megathread do you find the most reliable? ( self.Piracy )

submitted 9 months ago by K0ND1R0TSU

Hi all! I have a couple of movies and TV shows on my watchlist, however most of them are only on streaming services, and, unfortunately, due to being a student and not having a stable income source, cannot afford them. I'm not interested in torrents, nor downloading, as I do not have a reliable VPN subscription and my hard drive is almost full; I want a website to just stream the media I'm interested in.

I am aware of the megathread and I've been trying out some of the websites shown there. I'm not sure, though, which of them have the best selection and/or are the safest/fastest of all. Which websites could you recommend? What are your experiences with them?

12 comments

Want to add to the discussion?

Yarr! ➜ u/K0ND1R0TSU , things to know about the "megathread":

The Megathread is updated very often by the moderators and contributors.
Every effort is made to keep it as user-friendly and malware-free as they can.
Don't become entitled and complain that the entire project is invalid because one website or download gave you a false positive.
It is also good practice to conduct your own research and proper due diligence before pirating anything.
That's all, sailor. Carry on! Pilfer that bounty to the fullest of your ability.

I am a bot, and this action was performed automatically. Please contact the moderators of this subreddit if you have any questions or concerns.

[–] [deleted] 7 points 8 points 9 points 9 months ago (0 children)

I use Fmoviesz. I've had a good experience with it. I like the fact you can add stuff to your watch list.

If you have an android phone, I would use the CloudStream app.

[–] RehanPlayz 2 points 3 points 4 points 9 months ago (0 children)

I use https://susflix.tv/ for movies/TV shows on PC. It has pretty high quality including 4K stuff to stream. On mobile I use Cloudstream. For anime, I use Saikou the app on mobile and on PC https://aniwatch.to/

[–] begging-for-gold 0 points 1 point 2 points 9 months ago (0 children)

I use animeflix for anime. It’s pretty dope. Can’t remember my streaming tv and movies site though since I have it bookmarked on my computer

[–] WeebArtist44 0 points 1 point 2 points 9 months ago (0 children)

bflix does the job

[–] tiddybarman 0 points 1 point 2 points 9 months ago (2 children)

movie.squeezebox.dev

Its like magical illuminate! LOL buy me a beer later. :-)

[–] Long_Discount7502 1 point 2 points 3 points 7 months ago (0 children)

How to download tho

[–] kingofallnorway 🏴‍☠️ ʟᴀɴᴅʟᴜʙʙᴇʀ 0 points 1 point 2 points 9 months ago (0 children)

Doesn't this require a VPN? It's not like FMovies where it uses servers, it's P2P isn't it?

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IC 814: The Kandahar Hijack Review - Vijay Varma Gives The Notion Of Heroism A Fresh Spin

Ic 814: the kandahar hijack review: authentic and to the point, vijay varma starrer is as good a web series as any we have seen this year.

<i>IC 814: The Kandahar Hijack</i> Review - Vijay Varma Gives The Notion Of Heroism A Fresh Spin

The captain of a hijacked Indian Airlines plane fixes a clogged toilet pipe. The passengers applaud. No need to clap for me, the man says, I was only performing my duty. Has the hero of a Bollywood rescue drama ever been so nonchalantly self-effacing? But, then, barring its genre, there is little in IC 814: The Kandahar Hijack that is conventional.

The response of the pilot, the flight attendants and a phalanx of intelligence officials, bureaucrats and an external affairs minister to the panic-inducing crisis defines the substance and scope of the IC 814: The Kandahar Hijack narrative. It gives the tense and taut six-episode Netflix series inspired by true events an instantly gripping rhythm.

Indian movie fans have seen several hijack thrillers in recent years, including an over-plotted, messily fictionalized Malayalam actioner starring Mohanlal and Amitabh Bachchan ( Kandahar, 2010 ). IC 814: The Kandahar Hijack , directed and co-created by Anubhav Sinha, finds its own flight path.

Nobody does more than Captain Sharan Dev (Vijay Varma) in pushing the series down that route. Imaginatively conceived and fleshed out, he gives the notion of heroism a fresh spin. In doing so he frees the show from constricting genre conventions.

Varma does not swing into action like Sidharth Malhotra of Yodha or talk tough like Akshay Kumar of Bell Bottom . The choices that the character makes do not yield superficial thrills but spark life-threatening conflicts that put his true mettle as a man and a pilot to the test.

In the face of grave danger and provocation - his aircraft, on the way from Kathmandu to Delhi on Christmas eve of 1999, is hijacked by five masked terrorists and forced to fly with a fast-depleting fuel tank to Amritsar, Lahore, Dubai and finally Kandahar, Afghanistan - the captain demonstrates exemplary courage and presence of mind.

It's all in a day's work for a man trained to keep his cool in the most adverse situations. But unfortunately for him and the harried crew, the ordeal lasts an entire week. Captain Dev has 180 passengers on his watch. Saving their lives is his top priority.

The hijackers turn increasingly antsy. The panic-stricken passengers run out of patience. And the crew begin to falter as torment gives way to torture. The series does not, however, limit itself to the plight of those on board. It also factors in the frenzied parleys initiated by the crisis management team in the corridors of power in Delhi and the moves of two journalists in a newsroom covering the constantly shifting story.

Investing the plot with dramatic power and elements of surprise would have been the biggest challenge before the research and writing team. They prove equal to the task. IC 814: The Kandahar Hijack strikes a fine balance between the factual and the imaginary, the concrete and the conjectural, the sanguine and the speculative without letting the fictive overshadow the tangible.

The highwire thriller keeps its feet firmly on the ground. It amplifies multiple conflicts and flashpoints. Ranging from the interpersonal to the geopolitical, from the immediate to the historical, these are inherent in the faceoff in the air and in the negotiations between Indian officials and the ISI-backed hijackers in the lead-up to the climax.

The series presents events as they unfold without gratuitous adornments. A voiceover occasionally provides context while sporadic snatches of news footage emphasize the gravity - and the 'reality' - of the situation.

The broad details of the events that unfolded aboard the imperiled aircraft 25 years ago are public knowledge especially if one has read the pilot's published real-life account.

Sinha (in his streaming debut) leads a writing team that includes co-creator Trishant Srivastava (Netflix's Jamtara: Sabka Number Ayega) and British journalist Adrian Levy (who shares the story credit with Srivastava). They deliver a show that is never hamstrung by a big Hindi movie formula.

The series has an inevitable preponderance of visual effects. The camerawork by Ewan Mulligan and Ravi Kiran Ayyagari is strikingly effective, and the sudden and alarming bursts of edge-of-the-seat action and anticipation liven up the show. Yet the series has a controlled near-documentary quality.

IC 814: The Kandahar Hijack , filmed in Jordan, Nepal and Mumbai, is based primarily on Captain Devi Sharan's book Flight to Fear. The script uses additional inputs from another book, Anil Sharma's IA's Terror Trail, which recounts 16 cases of hijacking of Indian aircraft from the early 1970s to the late 1990s.

Besides what the solid research and script bring to bear upon the series, a wonderful ensemble cast elevates IC 814: The Kandahar Hijack above the ordinary. Including those playing the passengers in the aircraft, the show has well over 100 actors, many of whom are little-known. However, each one of them contributes to heightening the impact of the drama.

Vijay Varma 'pilots' the show as a man whose planned yearend vacation with his wife and daughter is scuttled by the hijacking. The actor's subdued intensity conveys tenacity rather than showy bravado, a characterization strategy ingrained in the writing itself.

Patralekhaa is splendid as flight attendant Indrani whose inner turmoil is accentuated by the fact that she has had to leave her ailing father at home. She isn't the only woman in the series but she is nearly as much in the thick of the action as most of the show's other key characters.

The series generates considerable purchase from the emotionally draining personal facets that it adds to the professional calamity that the pilot and the airhostess face in the line of duty.

Dia Mirza plays a newspaper editor who believes in the virtues of caution. Amrita Puri is cast as an irrepressible newshound. Working in tandem, the two have frequent run-ins with each other on professional matters. The collision of their differing approaches lends the show an extra dimension.

IC 814: The Kandahar Hijack would not be half the series it is without its formidable slew of veteran actors - notably Naseeruddin Shah, Pankaj Kapur, Arvind Swamy, Kumud Mishra and Manoj Pahwa. They immeasurably enhance the show's depth and weight.

The camera swirls around them. They hover over each other. They go head-to-head with contrarian points of view that underscore inter-departmental divergences. Individually and together, these past masters of their craft are a treat to watch.

Kanwaljit Singh, Yashpal Sharma, Sushant Singh and Dibyendu Bhattacharya are somewhat underutilised, which is perhaps unavoidable in a miniseries with a wide array of characters vying for attention. But there is little else in IC 814: The Kandahar Hijack that one can find fault with.

Authentic and to the point, IC 814: The Kandahar Hijack is as good a web series as any we have seen this year.

Cast Vijay Varma, Patralekhaa, Naseeruddin Shah, Pankaj Kapur, Dia Mirza
Director Anubhav Sinha

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Strange Darling

“Strange Darling,” J.T. Mollner’s self-consciously edgy gotcha of a serial-killer thriller, is so high on its own cleverness that it never stops to think about what it’s actually saying. A pithy way to summarize this movie’s whole vibe would be “If Quentin Tarantino tried to make a ‘#MeToo movie.’” But that’s not fair to Tarantino, who, for all his flaws, is at least somewhat self-aware.

To give Mollner the benefit of the doubt, he may have been so impressed with himself when he came up with this movie’s twist that he didn’t realize that he had written a scenario that reinforces misogynist beliefs about women being untrustworthy, heartless manipulators who take pleasure in destroying decent men for the fun of it. (Apologies for the spoiler, but it’s impossible to articulate what’s wrong with this movie without at least obliquely referencing its back half.) The way that this revelation is presented suggests that its more noxious overtones are truly unwitting. But that doesn’t make their aftertaste any less gross.

The reason “Strange Darling” gets a marginal pass is that the film seems to truly believe that its subversions are empowering. Its intentions—and its disruptions—are straightforward, and it seems unaware of the implications of the specific ways in which it turns the audience’s expectations upside down. It’s not that deep, in short, and there are some shallow thrills to be had along the way. Much of that enjoyment comes from watching star Willa Fitzgerald , who commits wholeheartedly to her unnamed character’s sudden shifts in mood and affect. She gives her more range and personality than she — or, rather, the man who wrote her—really deserves. It’s a bravura performance, one that’s wasted on this stylish, but ultimately thoughtless and self-indulgent film.

Speaking of indulgence: “Strange Darling” is shot in gorgeous, vibrant 35mm. But it can’t just let its visual beauty stand on its own, instead opening with a real eye-roller of a title card that reads, “shot entirely on 35mm film.” (It should have read “shot entirely on 35mm film by Giovanni Ribisi ,” given that the prolific character actor does some impressive work here as the film’s DP. Now that’ s a twist.) The chase and action sequences are thrilling, the blood is convincing, and Fitzgerald isn’t the only engaging actor in the film: Ed Begley Jr. and Barbara Hershey are also endearing in minor roles as a pair of aging hippies who open their door to the wrong stranger.

Nostalgic stunt casting is a Tarantino signature. And that filmmaker’s influence on Mollner’s film, from the pithy dialogue to the non-chronological structure, is difficult to overstate. “Strange Darling” is a pastiche of a pastiche, which speaks to how a movie that has so much going for it can end up ringing so hollow. It subverts tropes because that’s a clever thing to do, not because it has anything to say about what those tropes represent or how they play out in real life. It doesn’t have any new insights about gender relations, or about gendered violence, or about sublimating violence through sexuality, although it spends long stretches rat-a-tat-tatting about those very subjects. Handed a Rorschach test, it sees nothing but a blob of ink.

Katie Rife is a freelance writer and critic based in Chicago with a speciality in genre cinema. She worked as the News Editor of The A.V. Club from 2014-2019, and as Senior Editor of that site from 2019-2022. She currently writes about film for outlets like Vulture, Rolling Stone, Indiewire, Polygon , and RogerEbert.com.

Willa Fitzgerald as The Lady
Kyle Gallner as The Demon
Jason Patric as True Crime Narrator (voice)
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30 Random Bits of Trivia That Are Like a Bento Box for Your Brain

20 bizarre experiences with ‘sovereign citizens’, adam sandler honors ‘happy gilmore’ co-star carl weathers at postmortem walk of fame ceremony, 33 of the funniest tweets from thursday, august 29, 2024, matt rife’s fans send him some seriously weird gifts, we’ve reached peak prestige adam sandler.

We’ve Reached Peak Prestige Adam Sandler

In Adam Sandler’s newest Netflix stand-up special Love You , the Uncut Gems and Jack and Jill star’s Safdie-Sandler era struggles under the massive weight of his many dick jokes.

Sandler’s first collaboration with the elite indie filmmaker Josh Safdie proved to be one of the most important projects of his career. When Uncut Gems premiered in 2019, it had been 17 years since Punch-Drunk Love last proved that The Sandman could pull off a more nuanced role than “man-child who yells a lot” in a film that’s more artistically ambitious than the average Dunkin’ Donuts commercial. The success of Uncut Gems led to a renaissance in Sandler’s non-family-film career as he went on to produce and star in more challenging projects in his pursuit of an Oscar nomination that continues to this day.

However, the change of direction within Sandler’s career that culminated in the release of his most conceptual comedy show earlier today started a year before the premiere of Uncut Gems , back when Sandler surprised stand-up fans with the sincere and sensitive comedy special Adam Sandler: 100% Fresh , which he famously closed with a touching song dedicated to his late friend and comedy legend Chris Farley .

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With Safdie directing Adam Sandler: Love You , Sandler’s newest hour is a marriage of the self-reflection from 100% Fresh and the metropolitan artistic sensibilities that Sandler has picked up in the last half-decade of his film career. Unfortunately, this special feels more like a confirmation that Sandler said everything he needed to get off his chest in his last sensitive stand-up special rather than a continuation of his comedic introspection, and the Safdie styling and cinematography does little more than dress up the winding, long-winded stories with a visage of intentionality that almost makes us think they won’t inevitably end with a penis or a butt.

Love You opens with an extended sequence of Sandler arriving at the show late and preparing to take the stage in a slightly stressful and refreshingly joke-light reimagining of the traditional stand-up intro. Safdie puts the audience in Sandler ’ s shoes as he ’ s mobbed by a crowd of fans and autograph dealers without aggrandizing his star, showing Sandler as disheveled, argumentative and apologetic in a way that feels authentic to his average, A-lister experiences with hordes of demanding strangers.

Safdie ’ s influence on the special is strongest in the many meta elements scattered throughout the show. A running theme in Love You is that the stage crew of Nocturne Theatre in Glendale, California, a cozy, intimate venue that seats 360 audience members, is completely inept and beset by technical issues at every turn. The stage has a hole in it where the keyboard of Sandler ’ s musical accompaniment falls through, and a stagehand has to cover it up with a lunch tray. The TV screens that are supposed to serve as Sandler ’ s audio/visual support run on Windows XP, and they crash with Clippy smiling at the audience from the lower-right corner. There ’ s a dog running around the room. Throughout the set, these staged mishaps serve mainly as distractions in between Sandler ’ s bits.

As for Sandler ’ s act itself, the set is a typical mixture of stories and original songs, both of which tend to tackle his family life and both suffer from a lack of editing as the runtimes wear the material thin. In both tale and tune, Sandler ’ s ability to end a bit with a killer button is as strong as ever, even though he resorts to bodily humor more often than not, but the long walk to get to punchlines like “My dog has a boner” or “My mom used my wife ’ s vibrator” is too often sluggish and uninteresting.

It ’ s almost like Sandler tried to turn Love You into a tribute to his other late, legendary friend Norm Macdonald and his signature long-windedness, just without the droll detachment that made the audience wonder whether the joke is on them.

The running bit about AV problems comes to a head at the conclusion of the show when, with Windows XP subdued and the visual aids once again functioning, Sandler sings a seven-minute love song dedicated to comedy itself, espousing its power to turn around a rough day and bring relief to hard lives. Slideshow clips and images of Chris Rock, Carol Burnett and The Marx Brothers punctuate Sandler ’ s point that comedy is one of life ’ s purest sources of joy during difficult times while he strums the guitar his dad bought for him when he was just 12 years old.

Mirroring the memorial song to Farley, this rock ballad feels far less personal than the closing number to 100% Fresh , and it caps off a much more general special than Safdie trappings would suggest. While Sandler ’ s ability to write a killer punchline has survived the many phases of his unmatched career, the artsy, vulnerable Sandler of the last five years seems like he's running out of novel concepts and sensitive self-expressions to continue surprising us like he did at the end of the last decade.

Still, Love You is at least a watchable alternative to other recent Netflix stand-up specials. I ’ d rather listen to Sandler sing a sad song about comedy than watch Matt Rife make his audience bring their own material .

VIRAL ON CRACKED

12 creepy sitcom moments from actors who turned out to be monsters, a weekly newsletter of jokes + trivia.

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Fresh (2022) is the most fun I've had in a horror movie ...
Fresh (2022) is the most fun I've had in a horror movie since Ready or Not. Recommendation. I was looking forward to this and it was much fun! Gruesome, twisty, genre bending; genuinely funny, well written, cinematography on point - can't actually think of a single thing I disliked!
Fresh (2022) is my favorite horror movie I've seen in years ...
PhantomKitten73. •. This is absolutely my favorite horror movie of 2022. It's one of the few movie that threads the impossible needle of featuring some truly harrowing shit, where you genuinely feel the weight of that harrowing shit, while still being an incredibly fun thrill ride. It's a disturbing comfort movie.
Fresh Movie Review: An Intense Thriller That Subverts Expectations
Sitting alone in the dark watching this with my headphones on. I would have thought this movie was so good with the plot and keeping me engaged but I cannot get over how gross and twisted it isn. 47 votes, 99 comments. 2.1K subscribers in the SebastianStanStans community. We stan Stan.
Fresh (2022)
FRESH follows Noa (Daisy Edgar-Jones), who meets the alluring Steve (Sebastian Stan) at a grocery store and -- given her frustration with dating apps -- takes a chance and gives him her number.
Fresh movie review & film summary (2022)
Fresh. Horror. 117 minutes ‧ R ‧ 2022. Tomris Laffly. March 4, 2022. 5 min read. With romance callously sliced up into right and left swipes, dating has long been an undignified concept in the online world. You could even call it a meat market—sure, it's a clichéd phrase, but what cliché isn't rooted in some truth? In debuting ...
'Fresh' Review: Sebastian Stan Is Captivating in Stylish ...
Daisy Edgar-Jones stars as a woman who bites off more than she can chew in a thriller that would rather offer stylish black comedy than a feminist arrow to the heart of the modern dating scene.
Fresh Review: Sebastian Stan Star in Film About a Horrifying ...
If this is just the beginning, then the future looks bright. Rating: B+. Fresh premiered at Sundance this week, and is scheduled to be released on Hulu on March 4. Movie Reviews. Sebastian Stan ...
Fresh Review: A Spectacularly Twisted & Disturbing Film
The film's subject matter is beyond macabre. Don't watch Fresh on a full stomach. Noa (Daisy Edgar-Jones) is a sweet and friendly woman who's had bad luck dating. Every guy she meets online and in ...
Fresh Movie Review: An Intense Thriller That Subverts Expectations
Fresh premiered at Sundance this week, and is scheduled to be released on Hulu on March 4. It is Rated R or strong and disturbing violent content, some bloody images, language throughout, some sexual content and brief graphic nudity with a runtime of 1 hour 54 minutes. Fresh Movie Review: Fresh 2022 is an intense thriller subverts expectations ...
'Fresh' Review: Sebastian Stan and Daisy Edgar-Jones Star in Horror
Screenwriter: Lauryn Kahn. Rated R, 1 hour 54 minutes. The first act of Fresh plays more or less like a rom-com. Just when Noa ( Daisy Edgar-Jones of Hulu's Normal People) decides she's fed up ...
Fresh Movie Review
Our review: Parents say ( 6 ): Kids say ( 14 ): This is a disturbing, dark, and gruesome horror story that keeps the viewer guessing as it plays with the conventions of horror movies and romcoms. Fresh strikes a fine balance between blood and gore, story and message, and unsettling scenes offset by macabre humor.
Fresh (2022) [Movie Review but mainly clarifying spoiler laden ...
View community ranking In the Top 1% of largest communities on Reddit. Fresh (2022) [Movie Review but mainly clarifying spoiler laden discussion]: questions about the universe of the film, and who is really in charge ... I have watched 500 Horror Movies on the TUBI app and summarized, micro-reviewed, and categorized each one. ...
Fresh Review: Sebastian Stan Is Deliciously Creepy in Hulu Horror Film
March 4, 2022 @ 9:24 AM. This review of "Fresh" was originally posted Jan. 21, 2022 from the 2022 Sundance Film Festival. It takes a long, long time before the so-called "opening credits ...
Fresh (2022 film)
Fresh is a 2022 American horror thriller film directed by Mimi Cave, in her directorial debut, from a screenplay by Lauryn Kahn. The film stars Daisy Edgar-Jones and Sebastian Stan.It is a co-production between Legendary Pictures and Hyperobject Industries; Adam McKay produced the film alongside Kevin J. Messick. The film follows Noa (Edgar-Jones), who meets the alluring Steve (Stan) at a ...
'Fresh' Review: Daisy Edgar-Jones And Sebastian Stan In Hulu Horror Movie
Searchlight picked up the film through Legendary Pictures and will premiere it on Hulu on March 4. It could have a promising run in theaters as well since horror is one of the few genres still ...
'Fresh' review: New film reworks the horror genre
March 4, 2022 12:47 PM PT. There's something about a horror film that takes pride in being a horror film. "Fresh," the debut feature from longtime music video director Mimi Cave, knows this ...
Fresh Review: Sebastian Stan Exudes Charm In Uneven Thriller [Sundance]
Fresh debuted at the 2022 Sundance Film Festival. The film is 114 minutes long and is rated R for strong and disturbing violent content, some bloody images, language throughout, some sexual content and brief graphic nudity. It will be available to stream on Hulu March 4, 2022.
Fresh Ending Explained (In Detail)
As the Fresh ending explained, Fresh is a social satire in line with the social commentary of 21st-century horror movies. At its core, it is a critique of the modern dating scene, especially the dangers involved in dating for young, single women. There are many good men out there, but also plenty of dangers and dates that potentially wish to do ...
Fresh (2022) Movie Review : r/Critics
Fresh is the latest Hulu comedy thriller film directed by Mimi Cave, in her directorial debut, from a screenplay by Lauryn Kahn. It stars Daisy Edgar-Jones and Sebastian Stan. Is this film that premiered to mostly positive reviews at the Sundance Film Festival worth checking out? Find out in my Spoiler Free Review!
'Fresh' Ending Explained: Breaking Down That Violent ...
But when he hears gunshots—Steve is still alive, and has a gun—he peaces out. The three women are stranded on the grounds, with no vehicle to escape. But they manage to get the jump on him ...
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join 1,765,709. Posts must be related to the discussion of digital piracy, including ethical problems and legal advancements. We welcome questions, discussions, guides, articles and memes on file-sharing, the moral dilemmas of unauthorized distribution, legal developments, challenges, and other related topics.
IC 814: The Kandahar Hijack Review
Indian movie fans have seen several hijack thrillers in recent years, including an over-plotted, messily fictionalized Malayalam actioner starring Mohanlal and Amitabh Bachchan (Kandahar, 2010).
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Strange Darling movie review & film summary (2024)
Speaking of indulgence: "Strange Darling" is shot in gorgeous, vibrant 35mm. But it can't just let its visual beauty stand on its own, instead opening with a real eye-roller of a title card that reads, "shot entirely on 35mm film." (It should have read "shot entirely on 35mm film by Giovanni Ribisi," given that the prolific character actor does some impressive work here as the ...
Fresh (2022) Movie Review : r/FilmTalk
Fresh (2022) Movie Review. 0 comments. Best. Add a Comment. 3.4K subscribers in the FilmTalk community.
We've Reached Peak Prestige Adam Sandler
With Safdie directing Adam Sandler: Love You, Sandler's newest hour is a marriage of the self-reflection from 100% Fresh and the metropolitan artistic sensibilities that Sandler has picked up in the last half-decade of his film career.Unfortunately, this special feels more like a confirmation that Sandler said everything he needed to get off his chest in his last sensitive stand-up special ...

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