The Menu

"The Menu" offers a trailer spectacular enough to entice me to set foot in a physical movie theater for the first time in 3 years. Packed with both veteran and burgeoning actors and directed by Mark Mylod of "Succession" fame, this movie has all the goodies to entertain you and make you think at the same time, supposedly. It starts out well enough, introducing quirky mysterious characters starting with Elsa played by Hong Chau. I find her really captivating in this role, a perfect combo of politeness and menace. Why is she dressed like that? Then we meet the Chef who has an agenda that unravels through the perspective of Margot, played by the always-awesome Anya Taylor-Joy. Margot is us, wanting to expose the ridiculousness of it all. Yet herein lies the problem with the movie. Its effort as a biting satire turns into a confusing mess at the end. "The Menu" could have given us something to chew on, instead I walk out of the movie theater scratching my head.

I waited months for this film thinking it would be so much better than it was. There is nothing quite like the let down of expecting something great, and it turning out to be mediocre at best.

While the plot is pretty original (which normally scores high points with me) and while the film is at times quite beautiful to look at, it altogether missed the main point: gratification and satiation.

Scares are not included on the menu; what there is of comedic value is folded within filling; it is unsatisfyingly light on gore; hints of interesting dialogue exist, but they are scantily peppered throughout; the build-up of characters and backstory is distinctly and unpalatably in short supply as well as somewhat bland, intentions are nondescript; it wore on and became progressively less, instead of more enjoyable; and the main course was both 'cheesy' and a bit less than fulfilling. I greedily took it all in, but by the time dessert was to be served, the previous dishes laid still undigested and leaden.

I'd like to speak to the manager, please.

The Menu, directed by Mark Mylod, is a dark satire that dissects the world of fine dining, wealth, and artistic obsession. Set on a secluded island, the film follows a group of elite guests invited to an exclusive restaurant, where a renowned chef has prepared a meticulously crafted multi-course experience-one that takes a sinister turn.

At its core, The Menu critiques the pretentiousness of high-class consumerism and the extremes of artistic perfection. The film highlights how privilege and wealth often lead to detachment, where experiences become commodities rather than meaningful engagements. The guests, each representing different facets of entitlement, are confronted with the consequences of their actions, forcing them to reflect on their own role in a system that thrives on excess and exploitation.

Another key theme is the cost of artistic obsession. The chef's relentless pursuit of perfection has consumed him, turning his passion into a prison. Through his elaborate, terrifying spectacle, the film explores the burden of creative expression and the dangers of losing oneself to an ideal that can never truly be satisfied. It questions whether art should serve the elite or remain accessible to those who genuinely appreciate its craft.

Ultimately, The Menu serves as a sharp reflection on power dynamics, consumer culture, and the true meaning of fulfillment. It challenges viewers to consider their relationship with art, privilege, and the pursuit of greatness. Beneath its suspenseful and darkly comedic layers, the film warns against the hollow nature of superficial experiences and reminds us that true satisfaction lies not in excess, but in authenticity and appreciation.

The Menu isn't the first to satirise the rich and their incompetence and isn't saying anything new but that definitely doesn't prevent it from being a great satire that pokes fun at everything it can in ways that are often consistently funny, playful and extremely stylish.

Ralph Fiennes gives a terrific performance full of awkward unease that only enhances his commanding screen presence. Anya Taylor-Joy is a perfect audience surrogate amongst a sea of deliberately unlikeable characters of which the best is Nicholas Hoult whose almost too good at making his character hilariously pathetic.

Mark Mylod's direction is excellent, the film has more than enough visual style to match the pretentiousness of its characters and is really good at building tension. The music by Colin Stetson is fantastic, striking a unusual balance between beautiful and unnerving.

THE MENU is a good and unusual little thriller that proves a breath of fresh air in this day and age. One for the more jaded among us, it provides the kind of surprising, satirical modern-times scenario that I was hoping from GLASS ONION (and which didn't land). This one is variously a mystery, a comedy, a horror film and more besides, and it has depth and a careful skewering of a whole industry which I found more than satisfying. The cast is remarkable too, with each particular actor - from Fiennes to Hoult, Leguizamo to Taylor-Joy - carefully chosen to fit the perfect role for their talents. Appealing!