The evils of late-stage capitalism have been addressed at every film festival ever in recent years, but hardly ever in the midnight strand. This ingenious horror-comedy anthology achieves the almost unthinkable; while it delivers the requisite laughs and shocks — never an easy balance to strike, even at the best of times — Grind is just as effective in its jabs at the gig economy as anything by Britain’s Ken Loach or any other director from the school of social realism. There are echoes of Boots Riley’s 2018 Sundance breakout Sorry to Bother You, but Grind is a little more ambitious than that in its outlook — there’s even plenty of scope for a sequel or two here, pegged to the motives of the sinister DRGN Corporation, which looms in the background throughout.
Unusually for an anthology movie, Grind has a very fluid structure, using its premise as a
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