The world of fine dining is an elusive one. The thought of spending a month’s paycheck on a meal–regardless of how many Michelin stars it has–feels like a blasé act reserved for the affluent community (and the affluent community alone). So, when the opportunity arises to enter into the world of elitist eaters for one unforgettable night, of course, one would jump at the opportunity. What could possibly go wrong? Turns out, a lot. Director Mark Mylod’s (Succession) satirical thriller The Menu puts a clever spin on the “Eat the Rich” anecdote that, while mesmerizing to look at with the right amount of humor, leaves us wanting more.
Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) are a well-off and stylish couple who are about to embark on the experience of a lifetime: partake in a lavish tasting menu from the globally-celebrated Chef Julian Slowik (Ralph Fiennes). From the onset, the couple gives an “oil & vinegar,” “opposites attract” vibe; an apathetic Margot in her black leather jacket tries to stay interested as she listens to an overzealous Tyler talk about what they can expect at Hawthorn, the exclusive restaurant on the remote island they are heading towards. With tickets in hand for this once-in-a-lifetime dining experience costing thousands of dollars (which a sensible Margot immediately views as suspicious) the couple, along with a handful of other guests, board the charter boat headed to fine dining mecca.
Awaiting them on the island is the reclusive Chef Julian Slowik, manager Elsa (Hong Chau), and their obedient staff, who have prepared a luxurious night for the special guests. Along with Margot and Tyler are boisterous tech bros, Bryce (Rob Yang), Soren (Arturo Castro), and Dave (Mark St. Cyr), well-mannered repeat customers, Anne (Judith Light) and Richard (Reed Birney), arrogant restaurant critic Lillian Bloom (Janet McTeer) and her minion editor Ted (Paul Adelstein), an aging movie star (John Leguizamo) and his assistant Felicity (Aimee Carrero). It’s a cornucopia of egos and entitlement, to which Margot is definitely the odd woman out. Once seated in the minimalist open-concept kitchen and dining area, the guests are treated to avant-garde creations that are both wacky and genius. “Bread is food for the poor,” laments Chef, so he offers his guests a bread basket with no bread. Confused but engaged, the guests embrace the theatrics of the Chef’s multi-course menu. However, things take a dark turn when a sous chef commits suicide as part of the menu and the guests realize that danger is served.
The Menu has a cheekiness that feels both fun and dark; there are moments that are laugh-out-loud funny–mostly due to Ralph Fiennes’ *chef’s kiss* performance– while other moments exude heightened tension. The containment of the characters on the remote island with no working wifi or plausible escape route works in the film’s favor and builds suspense and a sense of dread almost immediately. Adding to the film’s robust tension is the score from celebrated composer Colin Stetson (who created the eerie soundscape for Hereditary).
Director Mark Mylod pokes fun at food culture not just within the story of The Menu, but in how the film is structured. Before the film begins, a title card acts as an invitation into this elitist culinary experience, welcoming audiences to the event that is to unfold. An obvious inspiration is also the David Gelb-helmed Netflix series, Chef’s Table. Some shots pay homage to the show by mimicking how the distinct courses are framed, described, and lusted over by eager foodies.
However, what falls short is the story itself. The execution is fully-formed, but the plot feels half-baked. The biggest question I was left with after viewing was “Why?” Why this group of guests? Why did Chef choose this night? Why that grand finale? Perhaps answers to those questions would’ve helped provide answers to another qualm I have about the inadequate backstory. The characters deserved more backstory, especially Tyler who-contrary to what the poster implies–is not a main character. I’m aware that what I’m going to say next is purely a personal preference but I also wasn’t convinced Anya Taylor-Joy was the right actress for this role. It felt as if she was going through the motions. In this role, she lacks the charisma and power that is needed when acting against Ralph Finnes, making for an off-balanced output.
Ultimately, for as beautiful and stylish as it is, The Menu leaves a mediocre aftertaste. If you’re looking for an “Eat the Rich” film, I suggest The Menu be your appetizer and Triangle of Sadness be your main course. Perhaps Bones and All can be dessert.
106 minutes. Rated R. ‘The Menu’ is now playing in theaters.
