Respond to these rapid questions in our The Menu quiz and we will tell you which The Menu character you are. Play it now.
The outrageously wealthy are currently having difficulty attending movies. In “Triangle of Sadness,” which was released last month, Ruben Stlund stuffed a group of them on a lavish yacht and watched them hurl vomit at one another. In “Glass Onion: A Knives Out Mystery,” directed by Rian Johnson, a group of them will be imprisoned on a secluded Greek island while they wonder who among them is a murderer.
However, this week, the extreme 1% just ends up on “The Menu,” getting skewered and cooked. With his outrageously exaggerated portrayal of the gourmet food industry, director Mark Mylod here parodies a very particular type of elitism. Macho tech bros, snobbish culture writers, washed-up stars, and self-described foodies are all stupid enough to think they know as much as the master chef himself at this place. Much of the fun in the witty comedy from Seth Reiss and Will Tracy comes from watching them preen and try to outdo one another.
However, what’s happening at this exorbitantly pricey restaurant on the isolated island of Hawthorne is more exciting in the lead-up than the payout itself. The performances continue to be abrasive, and the banter is brilliantly witty. Additionally, “The Menu” is always flawless technically. But after this dinner is finished, you could realize that you’re a little peckish.
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A diverse group of individuals board a ferry for the short journey to their famous destination. At $1,250 per person, Chef Slowik’s multi-course meals are legendary and extravagant. As she and her date Tyler (Nicholas Hoult) wait for the boat to come, a less-than-impressed Margot (Anya Taylor-Joy) jokes, “What, are we eating a Rolex?” She is a cynic who is along for the ride; he fancies himself to be a gourmet expert and has been longing for this evening. Although they are both beautiful and look wonderful together, there is more going on in their relationship than first appears. Both actors are very skilled at playing the arrogant fool, but Hoult excels at it, as evidenced by his performance in Hulu’s “The Great.” As our conduit, Taylor-Joy, who is consistently brilliant, provides a flirtatious blend of skepticism and sex appeal.
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Three annoying, entitled IT guys (Rob Yang, Arturo Castro, and Mark St. Cyr), a wealthy elderly man and his wife (Reed Birney and Judith Light), a renowned food critic (Janet McTeer) with her obedient editor, and a once-popular actor (John Leguizamo) are all on board (Paul Adelstein). Nevertheless, regardless of their position, they all show respect to the night’s shining star: the guy whose skillful and brilliant creations brought them there. In his portrayal as Chef Slowik, Ralph Fiennes combines a calming Zen-like serenity with an obsession with control. He begins each meal with a resounding handclap, which Mylod expertly intensifies to make us nervous. His devoted cooks behind him obediently comply with every request with an enthusiastic “Yes, Chef!” as if he were their drill instructor. Additionally, the meals’ on-screen descriptions, which are getting funnier each time, offer funny commentary on how the night as a whole is developing.
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Birney and Light’s characters have the least depth of all of these. Having a performer of Light’s caliber and watching her sulk with pitifully little to do is very irritating. Literally, she is “the wife.” She is nothing more than her instinct to loyally support her man despite the terrible findings of the evening. Hong Chau, who plays Elsa, Chef Slowik’s right-hand woman, is the movie’s MVP. She gives the visitors a quick and efficient tour of the island’s operations before strolling among their tables, attending to their every need and silently assessing them. She speaks with complete authority and no irony when she says things like, “Feel free to observe our cooks as they create,” which significantly adds to the fine atmosphere of the restaurant.
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The attentiveness and care each visitor receives at first appears like what people would expect to receive for paying such a premium amount. However, as time goes on, the specially created foods develop an invasive, ominous, and violent tone that is smart to the observer but horrifying to the diner. Even when the atmosphere is chaotic, the service is still exact and strict. But ultimately, “The Menu” doesn’t reveal anything to us that we don’t already know—much like other recent films that criticize the ultra-rich. Its messaging becomes overbearing and blatant. Riches beyond comprehension corrupt people. You stay silent.
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But as a visual and auditory feast, “The Menu” continues to dazzle. Peter Deming’s beautiful cinematography makes this private island appear improbably peaceful. The subtle luxury vibe is quickly established by the slick, stylish production design by Ethan Tobman, and Mylod explores the space in creative ways with overhead shots of both the cuisine and the restaurant floor. The Altmanesque sound design gives overlapping conversational fragments that immerse us in the action. Additionally, Colin Stetson’s amusing and mocking score complements the film’s rhythm while gradually raising the tension.
Although it’s a lovely location to visit, food would not be desirable there.
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For more personality quizzes check this: Strange World Quiz.
