14 Sep TIFF REVIEW – ‘The Menu’ is a delectably nasty treat that leaves a lasting impact
We’ve all experienced eating a meal across from an insufferable “foodie” at some point in recent times. You know the type. The ones who use words like “fusion,” “umami,” and “artisanal” to sound uber-knowledgable in the world of fine dining. They’re as quick to pull out their phone and snap an Insta-worthy pic of the dish in front of them as they are to praise a chef for their bold use of bizarre ingredients once more likely to be found on the back of a dog food packet. Maybe I’m describing your best friend or your partner. Or perhaps, gulp, it’s even you.
It’s why experiencing a film like The Menu is so richly satisfying. The world of haute cuisine deserves a good skewering and director Mark Mylod is here to shrewdly serve it up. Yes, there will be more food puns in this review. A deliciously dark black comedy with sharp social commentary and a brilliant ensemble cast, The Menu is a delectably nasty treat that leaves a lasting impact. A satirical feast that plays well with a big crowd, it’s a bloody good time that pulls few punches.
On a remote island somewhere in America (upstate New York seems likely) lies Hawthorne, an exclusive, high-concept restaurant known only to the privileged elite. Overseen by eccentric head chef Julian Slowik (a brilliant Ralph Fiennes), this prestigious eatery operates with food purposely grown on the island itself, all harvested and prepared by a disturbingly dedicated group of cooks who live in spartan quarters nearby. A dozen hungry customers have arrived on the island for tonight’s special $1,250-a-head degustation menu, all greeted by curt maître d’ Elsa (the ever-reliable Hong Chau). They have no idea what they’re really in for.
Taking one of the in-demand seats at Hawthorne are intolerable foodie Tyler (Nicholas Hoult) and his last-minute ring-in date, Margot (Anya Taylor-Joy), a washed-up TV actor (John Leguizamo) and his exhausted assistant Felicity (Aimee Carrero), repeat wealthy customers Anne (Judith Light) and Richard (Reed Birney), powerful food critic Lillian Bloom (Janet McTeer) and her painfully agreeable magazine editor Ted (Paul Adelstein), and toxic tech bros Bryce (Rob Yang), Dave (Mark St. Cyr), and Soren (Arturo Castro). And they’re all about to get their just desserts.
As an outsider to the world of overpriced dining experiences, Margot immediately sees right through the pretentiousness of dishes with ludicrous titles like “Breadless Bread Plate” and minuscule food that barely assuages your appetite. Frankly, she’d rather just devour a cheeseburger. But while her fellow diners are busy raving about every ridiculous item placed in front of them, Margot begins to notice something isn’t quite right about Hawthorne. The line between sophisticated performance art and sinister reality is starting to blur and it’s clear each guest has been invited for a very specific reason.
The Menu is a dish best served cold and it’s best to know as few details as possible about what Mylod has devilishly cooked up (last pun, I promise). Shocks and surprises abound and therein lies the endless fun of this twisted tale. Written by Seth Reiss and Emmy winner Will Tracy, the screenplay is a wild ride that will keep you on your toes. Mylod takes his time in dropping the pieces in place with subtle hints of darkness dotted throughout the initial stages that eventually lead to all-out chaos. Secrets are revealed. Lessons are learned. Punishment is enacted. And blood is spilt. Nothing is happening here by chance and it’s all crafted by a tyrannical chef with a meticulously planned agenda.
Reiss and Tracy elevate the bloody mayhem with bitingly astute commentary on food culture, consumerism, and class warfare. It’s an “eat the rich” revenge thriller starring a throng of elitist snobs who deserve everything coming their way. Like a big hit of chilli in your penne arrabbiata, it’s as subtle as a sledgehammer, but, sometimes, it’s refreshing to see a film go straight for the throat and never look back. This is as black as black comedies come and you may find yourself laughing at moments you know you shouldn’t. It’s bitterly acerbic in its humour and if that isn’t to your tastes, consider yourself warned.
Mylod is blessed with an embarrassment of riches when it comes to his cast. At the forefront is Fiennes in another disturbingly menacing role he was born to play. He does this kind of unnerving character so damn well, and it’s a delight to watch him hover over every scene like the culinary equivalent of the Grim Reaper. Slowik has a penchant for cutting one-liners that completely destroy his guests with just a few soft-spoken words and an icy-cold stare. It’s rare we see Fiennes blessed with the opportunity to tackle comedy, but his timing is perfect and his vicious line delivery is utterly cutting. He innately understands Slowik’s quest for perfectionism and his intolerance for insolence, as he quietly and methodically delivers one of the year’s most captivating characters.
In yet another captivating turn, Taylor-Joy continues to prove why she’s one of the brightest young talents working today. As the baffled foreigner in a world she’s never experienced before, Margot is the empathetic anchor you’ll instantly connect with. But there’s far more to Margot than meets the eye, and Taylor-Joy has a ball in slowly revealing the many layers of this complex woman who’s the only dinner guest who understands why this night of horrors is entirely necessary. She goes toe-to-toe with Finnes on numerous occasions and more than holds her own. That’s not an easy task to accomplish, but you should know by now Taylor-Joy is more than up to the challenge.
Hoult is wonderfully cast as another self-important blow-hard. He’s a shockingly shallow character who thinks an obsessive “understanding” of fine dining is a personality trait. It’s not and watching Slowik consistently tear him to shreds is gloriously gratifying. McTeer is fabulous as the narcissistic food critic who clearly thinks her opinions are equivalent to the word of God. Adelstein is equally marvellous as her insipid editor who will blindly acquiesce to Lillian’s every thought. But it’s the magnificent Chau who truly steals focus as the deadpan host who is as equally coldly intimidating as her boss.
It’s probably wise not to view The Menu if you’re feeling particularly peckish. You’ll be salivating at the impeccable food design with an array of over-the-top dishes that look as good as they taste. Ethan Tobman‘s sleek production design adds to the visual beauty, while Colin Stetson‘s mischievous score adds the right touch of orchestral elegance and impending doom to every scene. The swirling cinematography of Peter Deming dances around the dining room while knowing when to tightly focus on both the food and the chatter of the guests. And Christopher Tellefsen‘s editing keeps things moving at a brisk pace, even if the final running time stretches a touch longer than really required.
Dark and deviant with a wicked sense of humour and lashings of thrilling twists, The Menu is one of the most supremely enjoyable films of the year. It’s hilarious and entertaining with plenty to say about numerous pertinent topics. With a fully committed ensemble cast and a brilliantly written screenplay, Mylod delivers a sumptuous experience that will leave you longing for seconds. It’s easily one of the most ridiculously fun cinematic experiences this season. Take your seat and let this film serve you several courses of outrageous mayhem. Yes, chef, indeed.
Distributor: Searchlight Pictures
Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Judith Light, John Leguizamo
Director: Mark Mylod
Producers: Adam McKay, Betsy Koch, Will Ferrell
Screenplay: Seth Reiss, Will Tracy
Cinematography: Peter Deming
Production Design: Ethan Tobman
Costume Design: Amy Westcott
Music: Colin Stetson
Editor: Christopher Tellefsen
Running Time: 106 minutes
Release Date: 18th November 2022 (US), 24th November 2022 (Australia)