As a lover of the classic slashers of decades past, my expectations for new horror are often low. However, Hulu’s “Fresh” is worth a try, even for the insatiable horror junkie. Written by Lauryn Kahn and directed by Mimi Cave, “Fresh” is, for lack of better words, an extremely refreshing film. Cave is finally stepping out onto the mainstream horror scene after years of exclusively directing short films and music videos. Sebastian Stan and Daisy Edgar-Jones take us on a dark and twisting journey during which we are positive we know what happens next but always end up wrong. Cave makes refreshing decisions that may unsettle certain viewers while still drawing inspiration from classic themes and tropes in horror films. While embodying both classic rom-com and horror tropes, “Fresh” twists our expectations in an elusively devilish way.

The first quarter of the movie is subtly humorous and delectably suspenseful. The film is categorized as a thriller, but that is easy to forget until the title card appears around the thirty minute mark. Early on, we are reminded of the horrors of dating when Noa goes on a perfectly atrocious first date with Brett Dier’s misogynistic, hipster-esque Chad. Noa’s horrible dating experience is relatable enough to make us laugh and predictable enough to deceive us into thinking we know how the movie ends. That first quarter had me feeling slightly unimpressed — it felt like I’d seen this movie before. But, the enticing performances from both Edgar-Jones and Stan were enough to keep me engaged. The movie’s early predictability is intentional, making the twists and turns far more drastic and exhilarating. The movie cycles through several tonal shifts, keeping viewers on their toes, both eager and horrified to find out what happens next.

Edgar-Jones reimagines the classic “final girl” trope as Noa, while Stan plays the Machiavellian antagonist, Steve. The duo is conventionally attractive, but not without reason. The movie’s plot is driven by the characters’ ability to weaponize their sexuality and allure. “Fresh” equips its characters with “pretty privilege,” or the ability to use conventional attractiveness as a manipulative tool and self-defense weapon. Cave and Kahn are expressing their apathy towards the “final girl” trope by weaponizing female companionship and femininity itself, instead of pitting female characters against one another. 

In an interview with the Hollywood Reporter, Khan explains how the “diversity of its characters gets at the nuances of sexism and survival.” For some, “Fresh” may fall short with its pacing and almost too satisfying ending. Typical lovers of horror may have preferred less of the rom-com build up and a darker, gorier conclusion. “Fresh” challenges the horror junkie to patiently understand suspense and terror sans-jumpscares. While the movie doesn’t totally shy away from disgust, it is somewhat light in terms of gore, which was disappointing, personally. Khan’s choice to cut back on gore is indicative of the fact that carnage is not what defines horror; it’s the macro- and micro-metaphors for real-life horrors. As valid as this choice may be, I will always root for more gore.

Ranking 4.5 out of 5 stars in my book, Hulu’s “Fresh” is so deliciously twisted, it’s almost good enough to eat.