A young couple travels to a remote island to eat at an exclusive restaurant where the chef has prepared a lavish menu, with some shocking surprises.
Chuck says:
Deliciously wicked, Mark Mylod’s “The Menu” gleefully skewers elitism in all its forms, laying waste to the pretentious and privileged with abandon. Set in the world of ultra haute cuisine, the film is a tribute to and parody of food porn, a world rendered in exquisite detail from the highly ornate plating of that which the vacuous dine, to the sharp-edged, coldly lit kitchen from which culinary delights and the airing past grievances emerge. Not for the faint of heart, this “dark as a coal mine at midnight” comedy will be appreciated best by viewers with a taste for violent irony and vicious humor.
The action takes place at The Hawthorn, a remote island restaurant that can’t be bothered by commoners satisfied with meatloaf and mashed potatoes, catering only to those foolish enough to pay $1250 for the privilege of dining there. Turns out, the old proverb is right, there are plenty of fools who want to part with their money, but then again, to those who have gathered for this fateful evening, money is something much more than that which has to be scraped together to pay the rent.
The dining party of 12 – no more, no less and no singles – for this particular evening includes the mismatched couple Tyler (Nicholas Hoult) and Margot (Anya Taylor-Joy), he ecstatic over the opportunity of being at the Hawthorn, she deflating his enthusiasm at every turn; a fading, never-named movie star (John Leguizamo) and his disgruntled assistant Felicity (Aimee Carrero); pompous food critic Lillian Bloom (Janet McTeer) and her sycophant editor Ted (Paul Adelstein); long-time marrieds Richard (Reed Birney) and Anne (Judith Light) Richard; and Bryce (Rob Yang) Soren (Arturo Castro) and Dave (Mark St. Cyr), three bored bros looking for something cool to do.
With the tables set and diners in place, Chef Slowik (Ralph Fiennes), announces every course with a jarring clap of his hands, providing historical information about the food he presents, which devolve as the night progresses into uncomfortable, deeply personal stories from his past. And once Course Three arrives with tortillas stamped with pictures of secrets each of the customers hold dear, it’s obvious that something more is afoot.
Granted, the idle rich are easy targets and taking them down is nothing new. Yet, the wit in Seth Reiss and Will Tracy’s script – both experienced satirists that wrote for “The Onion” – is razor sharp with fierce bits of dialogue that cause as much damage as any handgun. Fiennes is delightful when Slowik, taking extreme umbrage over a clueless diner, bellows “He requested substitutions!”, while Taylor-Joy’s subtle scorning of the pomposity that surrounds her, especially when she mocks a wine she’s told has “a faint sense of longing and regret” are delightful. It’s obvious these two are in their element, Hoult being a stand-out as well, a willing minion to the cult of personality that surrounds Slowik. It’s to the actor’s credit that we ultimately sympathize with him despite his boorish behavior.
Slowik and Margot’s background stories prove surprising, an unexpected bond existing between them that Reiss and Tracy use to drive their commentary on the vagaries of a classism. The financial gulf between the haves and have-nots isn’t the only focus but also the moral compromises one has to make to survive, the price of one’s conscience often far greater than any monetary reward or hollow accolades. In the end, while Slowik’s actions are inexcusable and extreme, the purpose behind his culinary reckoning follows an understandable, albeit warped sense of logic. Recognizing in Margot a kindred soul, harboring a similar sense of self-loathing, through their subtle conversations he tries to offer her an exit ramp from her own road to moral ruination, much of the movie’s suspense arising from whether she will recognize this or not. Reiss and Tracy’s writing shines in these moments, as do the efforts of Fiennes and Taylor-Joy.
Again, this is not for all tastes, but if you’re the sort who needs to laugh now and then at the injustices of the world rather than rage at them, “The Menu” provides a clever catharsis for venting such emotions. One thing’s for sure – after watching it, you’ll never look at S’mores in the same way again.
4 Stars
Pam says: Dammit, Chuck! You stole my first words for my review, but you’re right. It IS deliciously wicked!
“The Menu” is scrumptiously sinister that will leave you completely sated. There’s so much meat to chew on in this film as we meet the diners who attend high-end soirées the likes of “Hawthornes,” the remotely located highly sought after restaurant catering to those who can afford $1200 per head. And I use that phrase intentionally.
It’s wickedly smart as it dives into the personality traits of this elite group; poking fun at dishes made with foam presented on rocks, the presentation far outweighing the food. And as it reminds its patrons of the origins of each of the dishes — the pork loin with a miniature pair of scissors is my favorite — each of the diners reacts differently until we watch a suicide of a talented chef who cannot compare to Head Chef Slowik (Ralph Fiennes). (And this one element is why it’s not a 4-star review.) Of course, given the narcissistic element of many of the characters, some continue to believe that it’s the theater of the menu…until it’s too late.
The entire story devolves into a reflection of who these people are and where their lives have taken them. At the core is classism; the rich versus everyone else, particularly those in the service industry. And that is where Tyler’s (Nicolas Hoult) substitute date Margot (Anya Taylor Joy) sticks out like a sore thumb. Chef’s right-hand woman, Elsa (Hong Chau) tips her hand ever so slightly to let us know Margot is not meant to be there that night. Using utterly shocking moments, every scene has just the right amount of searing comedy; a splash of irony mixed with a sprinkle of sarcasm. A wine pairing accompanies each course possessing a unique description such as a lovely oak and berry varietal with hints of loneliness and longing. To reveal much more than that will take all the fun out of your experience at the theater, but suffice it to say, if a little gore makes your stomach turn, it may be difficult to watch.
Fiennes is stellar as the head chef whose character is hell bent on teaching his food recipients a lesson while knowing the end result for them all. His utter disgust as he purveys his patrons is laced with an acidic tone as he delivers his instructions commandingly. I will never “eat” a meal the same way again nor will I enjoy a s’more around the bonfire quite the same way either. Hoult’s character, a sycophant and imposter to himself, is a highlight as he attempts to climb his own personal social ladder. The cast of characters including John Leguiziamo as a fading star having an affair with his long-time assistant and Judith Light as a socialite in an unhappy marriage is the icing on a very flavorful cake.
“The Menu” is unexpectedly funny yet still poignant as it takes on social classism, serving up deliciously cutting dialogue, soliloquies, and situations. You’ll never dine out or “eat” the same ever again…and perhaps that is a good thing.
3 1/2 Stars
