The Menu

Director Mark Mylod has spend over two decades directing some of the biggest, most acclaimed and respected pieces of television.  recently, HBO’s Succession and Game of Thrones, but also Entourage and even the feature film, Ali G Indahouse. It’s this wide array of experience working within an assortment of genres that makes the director an ideal fit to helm a film that plays with audiences expectation of genre. This scathing “eat the rich” satire proves to be rather remarkable in its filmmaking and narrative prowess, with a film that is an undeniably savory treat.

A group of wealthy elites travel to a coastal island where they will be treated to a special evening of high-end dining, curated by world-renowned Chef Slowik (Ralph Fiennes). The guest list contains the self-professed fan (Nicholas Hoult) and his last-minute date, Margot (Anya Taylor-Joy). A food critic (Janet McTeer) and her editor (Paul Adelstein), a washed up film star (John Leguizamo) and his assistant (Aimee Carrero), a group of finance bros (Arturo Castro, Rob Yang, Mark St. Cyr) and a dissatisfied married couple (Judith Light, Reed Birney). These guests are the kind of individuals who more concerned about status and style than having a special night out. What begins as a rather pretentious evening fit with meals the size of golf balls turns deadly as the Chef and his staff have prepared an evening far more nefarious.

A devious satire on the culinary world, Mylod’s film operates as more of a Robert Altman-like ensemble thriller. Making great use of spatial awareness and utilizing the locale with exceptional skill, Mylod gives The Menu a grand cinematic flair despite largely taking place in one setting and with a set ensemble. Shot by Mulholland Drive cinematographer Peter Deming, the ever-evolving situation feels brisk and precise, despite the relative slow-burn narrative approach. Character layers are revealed methodically as the film moves along, and the visual sophistication brings out many of those character traits.

This is a high-wire act of tonal shifts, one that weaves its way in-and-out of comedy and horror quite seamlessly. The Menu is a pitch black comedy at heart and the script, written by Seth Reiss (The Onion) and Will Tracy (Succession) offers pointed anecdotes regarding societal warfare and the privilege of the one percent. For such a dark and fiendish film, it’s also quite uproarious. The sense of humor is downright wicked, making you want to choke on your audible laughter. There’s a guffaw-inducing quip about student loans that caused this critic to completely miss the next near-minute of dialogue from laughing so hard.

The film consistently finds ways to avoid the obvious pratfalls in most class warfare satires. It isn’t speaking down to its audience, and engages rather fiercely with the complexity in its themes. The target of the culinary word is largely a front, allowing the viewer to make the subject interchangeable with the many metaphors found within the writing. The viciousness aimed at the one percenters and the pretentious elite is palpable, with Reiss and Tracy’s script choosing to draw blood and almost every opportunity.

Margo is the one non-elitist of the guests; “one of them” as Fiennes’ Chef puts it. This creates a unique dynamic the film carries through until the very end. The well-rounded ensemble are fit with authentic performances that never over-sell the material, rather finding truth in the roles. Nicholas Hoult is quietly riotous as the food snob who worships at Slovik’s very feet. Hong Chau is particularly cunning as the Chef’s steely right-hand woman. Ralph Fiennes’ ever-commanding Chef can be truly frightening one moment, and reassuring the next. Fiennes plays the part with precision and is simply magnetic in the scenes opposite Taylor-Joy.

The tension deflates some by the final stretch once the film shows it hand at where it’s heading, but Mylod really sticks the landing. The climax barrels towards a sneakily profound ending that is both harsh pointed and gently crafted.

The Menu is a wicked and sharp satire set around the culinary scene, but serves as a scathing indictment on the wealthy elites that make up the one percent. This is a black comedy that equally earns its laughs and squirms.