Grind Review: A Unique Blend of Horror and Humor That Reflects the Gig Economy at SXSW
The horror-comedy anthology Grind has emerged as a unique commentary on late-stage capitalism, utilizing humor and terror to critique the gig economy. Unlike typical offerings in midnight festival strands, this film not only delivers laughs and scares but expertly engages with social issues akin to the works of British filmmaker Ken Loach. While reminiscent of Boots Riley’s 2018 Sundance hit Sorry to Bother You, Grind broadens its scope, hinting at potential sequels centered around the ominous DRGN Corporation that pervades its narrative.
In a departure from conventional anthology films, Grind employs a fluid structure that connects its varied chapters through premise rather than theme. This approach, previously successful in projects like V/H/S and The ABCs of Death, allows for occasional missteps without undermining the overall experience. Characters and recurring jokes, such as a print magazine named Modem Monthly, create a cohesive world amidst the narrative shifts.
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The film starts in a warehouse where Maria (Mercedes Mason) encounters trouble meeting her schedule due to a misplaced ringlight. After a third strike at work, her colleague Pete (Mike Mercer) warns her, “When you’ve displeased the DRGN, the DRGN sends you a box.” The mystery surrounding the contents of this box sets the tone for the unfolding drama.
Next, the focus shifts to Sarah (Jessika Van), who has joined Lala Leggings, a company selling Lycra jogging pants online. During her first sales attempt, she suffers severe setbacks, leading to an absurd consequence: her husband’s transformation into a scrub jay, a vivid reminder of the penalties of ignorance in this bizarre world. The storyline escalates when the Ax Man appears, dressed in a flamboyant outfit, further heightening the film’s eccentricity.
The narrative intertwines with that of Benny (Vinny Thomas), a DRGNDash employee hustling for minuscule profits, like a cup of coffee (“I’m standing in line for a dollar profit,” he quips). Benny’s fortunes shift when customer Simon S. sends him to a foreboding office that he likens to “John Wayne Gacy’s mancave.” As the situation resets with increasingly ridiculous stakes, the film humorously parodies the recent trend of time loop narratives.
The anthology’s darkest thread follows Joel (Christopher Marquette), who joins DRGN Corp. and discovers the grim reality behind a seemingly generous salary of $175,000. Required to watch 6,250,000 submitted video files in a facility known as The Pit, Joel endures a descent into viewing horrific content, all while remaining trapped in his cubicle.
This segment seamlessly transitions into the final storyline, where employees of the DRGN-owned coffee chain Neptulia engage in unionization efforts. The narrative playfully critiques labor struggles while referencing contemporary activist groups, illustrating the absurdity within serious themes.
In a concluding twist, the film humorously humanizes the faceless cruelty of corporate giants, showcasing Barbara Crampton as the founder of Lala Leggings and Rob Huebel as her husband at DRGN Corp. This inversion of the adage that “the only thing necessary for the triumph of evil is for good people to do nothing” suggests instead that perpetual allowance of exploitation by bad actors retains its grip as long as they are unchecked.
Title: Grind
Festival: SXSW (Narrative Feature Competition)
Directors: Brea Grant, Ed Dougherty, Chelsea Stardust
Screenwriters: Brea Grant, Ed Dougherty
Cast: Barbara Crampton, Rob Huebel, Christopher Marquette, Jessika Van, Vinny Thomas, Mercedes Mason, Mike Mercer, Aubrey Shea
Sales: Yellow Veil Pictures
Running time: 1 hr 44 mins
