The Menu

Directed by Mark Mylod

It’s good to be back! After a barrage of real life I can finally get back to movie watching, and what better way to dive back in than by starting with a movie I really wanted to see? Although not the most hyped or marketed film of 2022, The Menu’s packed cast and intriguing trailer grabbed me, so as soon as I had some time I checked this out. To give a slight spoiler for the rest of the review, the wait was definitely worth it!

When Margot, Anya Taylor-Joy, attends a lavish dinner at a secluded and famed restaurant, the evening appears to be a dull affair, especially as her date seems far more interested in the food than in her. Even the colorful cast of characters; a washed-up film star, preeminent food critics, and a group of finance bros, among others, doesn’t add much atmosphere to the occasion. But the appearance of renowned chef Julian Slowik, Ralph Fiennes, with his flair for the theatrical and intense dedication to cuisine, livens up the evening, even if his eccentricities are rather obvious. As the first course is brought out, a dining experience like none of these patrons has experienced before begins.

While I knew very little about The Menu going into it, I assumed that it was some sort of psychological thriller. What I was not expecting was that it was a satire on the entire service industry, and beyond that on class struggles as well, and a hysterical one at that. Though its comedic stylings are pitch black, The Menu’s sharp sense of wit anchors the experience, speaking directly to anyone who’s ever worked in, or even known anyone who works in, the service industry, almost bypassing the need for characters entirely. Most of the characters herein are broad archetypes, which would have become tiresome if this was more straightforward, but as The Menu’s tongue is so firmly in its cheek, you can recognize who this person is and what their deal is.

Even though these characterizations are broad and almost cartoonish at points, these characters are all draped over a series of phenomenal performances, ones that contain a deceptive amount of subtlety given the characters’ roles. There’s a wonderful ensemble here but my favorite three performances, and yes that’s how many good performances are here that picking three is narrowing it down, belong to Janet McTeer, John Leguizamo, and Nicholas Hoult. These three bring unique energies to these roles, and their success is vital to what makes The Menu work so well. As a one-location film, The Menu was always going to have trouble making each scene feel unique, but by having every table be filled with people with such strong personalities, The Menu manages to make each table feel like a different location where different characters are having different issues. It’s a clever workaround and a great use of a talented cast!

Overall, I enjoyed The Menu’s story. I don’t want to get into spoilers so I won’t be discussing it in depth, but even though its story is simple, that simplicity was absolutely the correct handling of the characters, actors, and concept. If there had been some intricate plot then the cast may not have had the opportunity to shine as they did, which was the best part of the film. I’d take a few points off for the ending, which was a little bit too simplistic. Again, not bad, but there could have been a lot more going on, especially considering the number of interesting character relationships and satire still proceeding. To have such a neat and tidy ending was a bit of a letdown. To be fair, this doesn’t detract that much from The Menu. It’s still a hilarious dark comedy that serves up great performances and compelling characters, and that’s sure to be a treat for anyone who enjoys their thrillers a little offbeat.