Skip to main content

The Menu


The Menu
is a great satire on the haves and the have-nots, set in an exclusive island restaurant called Hawthorne. Ralph Fiennes is the chef, Slowik, who at first, seems like a snobby, arrogant kitchen-maestro, but has deeper...issues. He's, as always, excellent, giving us more to chew on than pure sociopathy. Nicholas Hoult plays Tyler, a foodie twat, seemingly oblivious to the creeping danse macabre taking place. But it's ultimately Anya Taylor-Joy's film. She's Margot, Tyler's date for this once in a lifetime culinary event, though she appears to have her reservations (I promise that's the first and last food or restaurant pun in this write-up. My apologies.) Margot is the audience conduit and Taylor-Joy brings the gusto and a feisty 'no-shit-taken' attitude.

John Leguizamo is spot-on casting as the actor to whom Fiennes says something like, "Your face has irritated me for a long time" regarding a terrible film he was in. It's the perfect role for one of my least liked actors (in fairness, he's pretty good in this). And hello to Angela from Who's the Boss (Judith Light) in an uncomfortable 80s flashback.


I'm deliberately not mentioning the story as it's best to go in cold (not a pun) to this - I'll only say that it's rare for a film with this standing (budget, cast, producers of note, etc.) to actually follow through on its initial promise. Kudos to writers Seth Reiss and Will Tracy, as well as director Mark Mylod, for having the courage of their convictions, and Searchlight Pictures for allowing it to happen. Mylod has had quite a varied career in TV direction - from Vic and Bob to Game of Thrones and his hand is steady on the material. I found this to be a darkly funny kick in the nuts. But not in a bad way. 

The Menu opens at many cinemas, including the Luna and Palace on Nov 24th. 

See also:

Michael Sarnoski's Pig (2021) runs another chef through the wringer, and Peter Richardson's Eat the Rich (1987) is a manic antecedent. 

Comments

Popular posts from this blog

Nosferatu

The best looking film of the year, this has a gorgeous array of visuals that elicited a number of quiet 'wows' and intakes of breath from yours truly. Big praise to cinematographer Jarin Blaschke, production designer Craig Lathrop, art director Robert Cowper, set decorator Beatrice Brentnerova, and of course, director Robert Eggers for getting this crew together - he seems to use a lot of the same folk for his films, and fair enough, when this is the final product. Eggers has adapted the script from Henrik Galeen's original for F. W. Murnau's 1922 film, itself none too subtly ripped off from Bram Stoker's novel, Dracula . This is Eggers' fourth feature after The Witch , The Lighthouse , and The Northman and while I haven't yet seen the first two, I didn't care much for The Northman , typically wondrous images aside. He flirts with the pomposity that affected his previous film but here it matches the gothic tones and source text, that is until Aaron Tayl...

The Quiet Girl

This is a great film, especially in the way that it manages to create something interesting out of a reasonably mundane synopsis. A young girl is sent away to a relative's house for the summer where she is treated better than at home. Sounds like it could have a bit of Rohmer-style youthful awakenings? Or maybe some gritty Loach-ian societal comment? Even perhaps a revenge tinged 'fear the youth' theme? Well, it's none of the above, and more power to its style. The Quiet Girl herself (Cáit) is a newcomer, Catherine Clinch, and she was apparently found via an Irish language school call out. She's incredible - meek, direct, no airs nor graces whatsoever, with a clear-eyed awkwardness. She's almost like a little female Bowie in The Quiet Girl Who Fell to Earth (no, not a film but I thought I'd italicise anyway). There are orbiting performances that complement her perfectly. Carrie Crowley and Andrew Bennet play Eibhlín and Seán Cinnsealach, the couple who tak...

The Captive

Screening at the  Spanish and Latin American Film Festival , Alejandro Amenabar's first film since 2019 is a mildly controversial take on the 5-year captivity of legendary Spanish author, Miguel de Cervantes. We begin the film as Cervantes is led into a dusty courtyard in Algiers, along with many other kidnappees. Before he can be sold as a slave, or sliced up for insubordination, he presents a letter from the Spanish court, signalling that perhaps it's better he be kept as a hostage for ransom.  The film takes a bit of time to get rolling from here but when it does it settles into a clever mix of melodrama and weighty ideas. Cervantes, with his weak left arm acting like an acting crutch, slowly becomes the cheerleader of the prisoners, writing his stories in the air, only stopping when he temporarily runs light on material. The story takes a hurdle when the Bey, a high-ranking provincial governor (Alessandro Borghi) overhears the stories told in the courtyard and summons Cerv...

The Good Boy

This English/Polish co-production is not to be confused with Good Boy , a dog-based horror film, even though in most regions the definite article is removed - it seems only Australia and the UK have it as The Good Boy . To muddy the waters more, in some areas, including the US, Brazil and the Netherlands, it's called Heel , something you might say to a dog. Anyway, I'll call it THE Good Boy because that's how it's being sold here. It's directed by a Polish guy called Jan Komasa, who's done some features in Poland, and written by first time writer Bartek Bartosik, alongside slightly more established Naqqash Khalid. They've concocted a genre pic that flirts with horror, winks at black comedy and straight up propositions psychological dependency drama. At the beginning of the film, young scally Tommy (Anson Boon) is a hateable twat, acting 'the big I am' on a night out, drug-fucked and aggro with everyone, until he sets off on his own for more action. ...

The Christophers

The title of the film refers to a series of paintings started by Julian Sklar in the 90s but left unfinished for reasons made clear later. Sklar, as played by Ian McKellen, is eccentric and irascible, and seems to be a blend of famous British painters, Francis Bacon and Lucien Freud. As Sklar is getting on in years, his grown children hatch a plan to have the paintings 'completed' for sale, with, or preferably without, their father's knowledge. For this undertaking they must enlist renowned art restorer (and dab hand forger), Lori Butler, an old acquaintance from art college. The premise is fine, but unfortunately, as created by Steven Soderbergh (director) and Ed Solomon (writer), it doesn't have any legs. Paradoxically, the best bits are probably also part of the reason it falters. McKellen is superb as the lovelorn painter, artistically blocked and emotionally bitter. His pithy, acerbic dialogue is great and he gives the performance full welly, but the actual storyli...

Head-On

I saw this confronting 2004 drama at the German Film Festival as part of a retrospective of Fatih Akin films. Unfortunately, there was only one screening in Perth, there might be extra shows in other cities. Akin's a great stylist, authentic and functional, and his films are informed by his cultural standing as a German-Turkish writer/director. In this film, a rough looking bloke called Cahit (Birol Ünel) smashes his car - head-on - into a wall after a heavy night on the turps. While getting treatment, he meets Sibel (Sibel Kekilli), a young woman who recognises his shared dual nationality status. She's looking for a 'Turkish' guy to marry, so her parents will get off her back. Initially sceptical and aggressively dismissive, Cahit realises Sibel is dangerously desperate, so he agrees to the sham marriage. There's an early bump in the road when Cahit kicks Sibel out on their wedding night for asking about his dead wife. Soon enough though, things settle into a room...

Best Films of 2011 to 2020 - End of Decade Report

I realised a few weeks ago that I've been doing the Film Shapes blog since 2011. This got me thinking that it might be a doddle to put together an aggregation of the top tens of each year, a kind of 'best of the decade' list. Not such an easy task. I've had to stretch a mooted ten out to twenty and the order has been troubling me for some days. As it turns out, all these films were actually made between 2011 and 2020, otherwise titles like Inception may have snuck in. Anyway, I'll leave you with this for now and bugger the consequences. 20. Slow West (2015) An odd, melodic Western, directed by John Maclean (of The Beta Band), this has young Scot, Kodi Smitt-McPhee crossing the perilous US west, helped or hindered along the way by their excellencies Michael Fassbender and Ben Mendelsohn. As the title suggests, it's slow-paced but that's what sets it apart from other films of its ilk. Come to think of it, this is a pretty lonely ilk. 19. Bohemian Rhap sody ...

Supergirl

This new superhero flick from the DCU is an incel's nightmare. Following on from James Gunn's Superman of last year, Craig Gillespie takes the director's reins for this spin-off, Supergirl . Quick deviation - partway through, there's a clever aside about how Kara gets the 'girl' label, while her cousin Kal-El can use 'man'. Starting as it means to go on. Before we actually see the lead, we open with the motivating event of a family slaughter by the face-studded Krem of the Yellow Hills (Matthias Schoenaerts), sending young Ruthye (Eve Ridley) off on a revenge quest, which eventually drags in Kara Kor-El (Milly Alcock). Kara is on a week-long birthday bender, making sure to stay in red sun systems so that her powers don't work and the booze does. This is significant for the showstopping transformation yet to come on an interplanetary bus. Look, the film itself is fine, nothing new in the storyline structure (Andrew from The Curb notes that 'the ...

Franz: Becoming Kafka

In this fractured, somewhat unconventional biopic, various characters take on the role of narrator, breaking the fourth wall within the story. As curious as the method of delivery here is, the bones of the film itself still function to paint the picture of one of the 20th century's most lauded writers. We witness Kafka's less than perfect childhood with unloving father and powerless mother; his possible spectrum hovering; his near-crippling insecurities; his tricky relationships with women; and eventually the illness that brought on his early death. Director Agnieszka Holland is still firing at 77 years old, she's quite happy to lean towards experimentation and, along with her co-writer, Marek Epstein, she imbues the film with a surrealism similar to Kafka's work. Aside from the 'to camera' narration, the timeline jumps around, even bringing in elements of 21st century Kafka tourism with French, Japanese and American tour guides, who may or may not be on the lev...

The Talented Mr. F.

Screening at the German Film Festival, this is a mind-boggling tale of a 'you-tuber' dickhead who nicked a short animation film off a couple of German university students and passed it off as his own work. The thief, or the 'talented' Mr. F. of the title, is Samuel Felinton, a ubiquitous pud with a probable case of Narcissistic Personality Disorder (NPD). This diagnosis has been mentioned on Reddit but his baggage is weighty so fucks knows what's wrong with him. We open with Moritz and Julius, who made a cute little robot anime, uploaded it to YouTube to see if anyone liked it, and when it gained loads of hits and positive comments, took it down. Emboldened by this public favour, they then started to enter their short,  Butty, into various film festivals. When the replies came back that it couldn't be accepted because the film was already doing the festival circuit, the lads freaked out. Turns out Butty 's brief online life was enough time for Felinton to d...