The Menu

The Menu is the most entertaining ensemble film since Knives Out, and the most engaging horror-satire since Get Out. But no matter what comparisons and assumptions are made, The Menu will not be the movie you expect.

Mylod’s stew saves its most mouth-watering plate for the last. That’s why it’s fiendishly delightful.

The Menu is a tightly wound, sharply rendered skewering of the dichotomy between the takers and the givers, or in this case, the eaters and the cooks.

For the right audience, The Menu also succeeds as satire of the darkest possible, hilarious kind, best served with plenty of popcorn.

A movie that starts off as a scalpel-sharp satire, casually slides into becoming a skin-of-your-teeth horror film and ends as a flamebroiled screed in more ways than one, director Mark Mylod’s Grand Guignol take on the master-and-servant relationship of hospitality industries will not suit everyone’s palettes.

The Menu’s straight-faced depiction of absurd culinary violence may not be imaginative or thrilling, but the film is rarely boring. It’s deep-fried junk disguised as gastronomy; it may not fully satisfy, but it’ll fill a hole.

The pungent whiff of designer cynicism pervades every scene, so not only is it difficult to understand why these diners aren’t taking their business elsewhere (which they absolutely would do if they’re the capitalist scum we’re told they are), but it’s difficult to give two hoots as to whether they stay or go.

As great as a western, as brilliance as a horror movie, if it could be Only those who are very naturalistic in their childhood, very inquisitive and interactive in their adolescent, and very adventurous and interactive in their youth and in middle-aged people who think more will connect to this movie 100%. And the interesting thing was that I get hungry with the slightest mention of food in movies, but I didn't get hungry in this movie! The chemistry between Nicholas Hoult and De Armas was good, but Hoult is one of those actors who can play two leading characters. In terms of the way of paying for structure of the film and some other main elements, the film is reminiscent of almost forgotten films like Cabin in the woods 2012..... with the difference that the way the structure is paid here is both more cinematic and more developed. And in the end, the film takes form with difficulty and with the technical knowledge. The actor playing the role of the chef is one of the most suitable actors that I have seen in the last few years that matches his role.... (I think he is more suitable for roles where an ordinary person , almost without feelings is trying to become a leader and in the end it doesn't success... which of course was not the case here!). The seriousness in the performance is sprinkled throughout the film. We can recognize the perfection of the script in the first thirty minutes of the movie. We know how the director has complete control over things from the sense and power that there's in the back of the performances. The only thing that needs to be added is when the head chef says to one of his subordinates: "Are you hurting your mind, your body, to keep satisfied people you never see?" The purpose of this sentence is sympathy and its meaning at the same time and after that is conveyed indirectly and correctly, but it would have been better if it was conveyed directly in the sentence. And if it was like that, it would be more to my liking. The connection between the three issues of the script, the choice of actors and the way to use the dialogue was not in line with my taste, but because it was executed correctly, I consider it a perfect movie.5/5

A Lethal Campfire of Pretentious Vanity Reduced to Embers Before a Soul Starving for Real Sustenance.260530 (2.9)"It's part of the Menu." Vanity flippantly writes off the entire spectrum of human joy, anger, sorrow, and pleasure. In the presence of a truly hungry soul, this whole affair is nothing more than a ridiculous campfire staged by pathetic clowns. The narrative unfolds around Margot Mills (born Erin from Massachusetts), an escort hailing from a Nebraska trailer park who sees right through the absurd, pretentious culinary world. Chef Julian Slowik, a renowned Waterloo native of Slovak descent who once stabbed kitchen scissors into his abusive father's thigh on a Taco Tuesday to protect his mother, orchestrates a final dinner destined to kill everyone present along with his devoted staff, reminiscing only about his past pride flipping genuine food as employee of the month at Hamburger Howie's. General manager Elsa rules the dining room with cold charisma, overpowering arrogant patrons until she is fatally stabbed in the neck after attacking Margot out of jealousy when Margot takes over her errand. The kitchen ensemble mirrors Slowik's torment: sous-chef Jeremy Louden chooses gun suicide as the fourth course, which Tyler watches with an unsettling grin, while sous-chef Katherine Keller—subjected to relentless harassment and confinement after rejecting Slowik's advances three years ago—stabs Slowik in the thigh with kitchen scissors as part of the lethal performance she originally proposed. Tyler Ledford embodies the peak of insecure mansplaining and pretentious greed, preaching culinary worship while obsessively gorging himself on food, even devouring dishes after fingers are severed and blood is spilled; having hired Margot knowing full well no guest would leave alive after his former girlfriend Westervelt dumped him, he hangs himself in utter humiliation when Slowik forces him to cook and mocks his pathetic dish. Other guests reflect various facets of cultural vanity: Lillian Bloom, the food critic whose harsh reviews destroyed countless restaurants, pathetically offers career favors to save her skin; tech investors Soren, Dave, and Bryce flaunt unearned wealth; washed-up actor George Diaz and his manager Felicity Lynn cling to hollow prestige; and the wealthy elder Liebrandt, whose severed finger strips away his wedding band, previously paid Margot for roleplay pretending to be his daughter Claire while unable to recall a single dish from eleven prior visits. Angel investor Doug Verrick, owner of Hawthorne island, is drowned in angel wings as a theatrical display of fallen status. When Margot uses Slowik's opening to place an emergency call, the arriving coast guard officer Dale turns out to be another loyal kitchen disciple. From the breadless bread plate to laser-etched tortillas exposing corruption and infidelity, Slowik mocks the twelve guests (alongside thirteen targets destined for doom), recognizing that setting exorbitant prices only attracted unpleasable parasites. Men flee during the man's folly course, leaving women alone indoors, exposing their blind, conditional empathy. Ultimately, Margot cuts through the avant-garde nonsense by demanding a simple, juicy double cheeseburger with fries, offering Slowik his only moment of genuine culinary appreciation—the act of savoring. Paying ten dollars for her meal and asking for it to go, Margot earns her exit, while the restaurant burns down around the staff and guests transformed into human s'mores. Safely drifting away on a boat, Margot eats her burger and wipes her mouth with the menu, completely unmoved by the fiery destruction of an industry fueled by hollow vanity.

A film with a very particular story that manages to combine thriller-horror elements with other fun ones, all on a basic plot that does not reach any particular level but is completely effective. Very enjoyable and with the right length

Yine saçmalıktan seçmeler bir yapım. Film tam bir vakit kaybı, daha kaliteli yapımlara göz atın.

The first half of the movie was good and i could feel the tension raises a bit but by the end of the movie i start to yawn and couldn't wait for it to finish, i just don't get it they could have done so many better things with the story but they decided to make it boring and pointless. I do think however there was some originality and the performance by Ralph Fiennes was excellent and i feel like he was the one who kept me watching till the end. Can't recommend, SKIP!