Polygon is on the ground at the 2022 Wonderful Fest, reporting on new horror, sci-fi, cult, and motion movies building their way to theaters and streaming. This evaluate was printed in conjunction with the film’s Superb Fest premiere.
2021’s motion picture scene of the calendar year — the one that dominated critic and cinephile discuss through awards time — came from Michael Sarnoski’s Pig, a deliriously violent but silent thriller about Nicolas Cage’s ex-chef chasing down his stolen truffle pig. At 1 issue, Cage’s character, Rob, a retired chef turned backwoods recluse, sits down in a ritzy haute cuisine restaurant and summons the chef, a previous worker of his. Without the need of boosting his voice, Rob verbally tears the gentleman aside for offering up his goals of owning an personal, cozy pub. “Every working day, you wake up and there’ll be significantly less of you,” Rob tells the chef, who appears to be gutted — but not like he disagrees. “You stay your everyday living for them, and they really do not even see you. You really do not even see you.”
Mark Mylod’s black, bloody comedic thriller The Menu plays out like a sequel to that scene, if the hapless substantial-conclude chef had determined to change Rob’s revelation outward towards his clientele in its place of inward. The Menu mocks the sort of individuals who would eat at that cafe Chef Rob despises, with its “emulsified scallops” and “foraged huckleberry foam, bathed in the smoke from Douglas fir cones.” But it also finds a minor humanity in them as well. A single of the most intriguing issues about the motion picture is the way the filmmakers discover room to skewer each individual concentrate on in sight.
Anya Taylor-Pleasure stars as Margot, a previous-minute day for rich foodie obsessive Tyler (Nicholas Hoult), who’s secured a seating at an distinctive cafe on a private island, headed by the renowned Chef Slowik (Ralph Fiennes). Margot doesn’t treatment about the kind of food stuff that is composed of a handful of artfully spaced blotches of sauce on a plate, billed as a cheeky “breadless bread course.” But Tyler is obsessive about Chef Slowik’s perform, and the possibility of earning his notice and curiosity. They’re an odd couple from the start out, with a bizarre pressure amongst them that indicates strategies waiting to be revealed.
They are not the only types with secrets. The other diners on this individual night include a smug foods critic (Janet McTeer) and her sycophantic editor (Paul Adelstein), a insignificant film star (John Leguizamo) and his assistant (Aimee Carrero), a trio of loud tech boors who begin the evening off by boasting about fraudulently expensing their meal, and an more mature pair who come to feel they may possibly acknowledge Margot. Then there is Chef Slowik, who’s prepared a perilous “menu” for the evening intended to carry the insider secrets to gentle.
How far Chef Slowik is keen to go, and what is heading on with Margot, make up most of the difficulties in The Menu. Normally, it could possibly just participate in out as a rather grim and acquainted revenge thriller aimed at some uncomplicated targets: prosperous, entitled, impolite, self-satisfied men and women. If there weren’t far more likely on less than the area, The Menu would hazard coming throughout as a extravagant variation of one particular of individuals teen slashers that’s far more about looking at symbolically obnoxious, shallow younger persons having mown down by a killer.
Instead, Seth Reiss and Will Tracy’s script doles out the revelations with a very careful sense of pacing and escalation, holding a equilibrium of sympathies in between victims and mastermind. They clearly never anticipate the audience to fully toss in with the individuals having to pay $1,250 apiece for a minimalist supper, mostly for bragging rights about the practical experience. They do not depart their victims as ciphers, either. Margot the natural way receives heart phase, and Taylor-Pleasure provides her a fierce, brittle “I’m completely about this nonsense” strength that would make her a powerful protagonist. Hoult gives an equally robust effectiveness as a person becoming pressured to come to conditions with his own pretensions in a notably unpleasant way. But every single character in switch will get a little phase time, which includes Chef Slowik’s committed assistant, Elsa (Hong Chau, refreshing off The Whale, but most memorable as the villain in the 2019 Watchmen sequence).
And Fiennes himself is a appreciable asset, as regular. He directs the action at his cafe like a cult chief, places on a warm, benevolent face when it fits the tale, then brings a ruthless form of chilly psychopathy to the table for other scenes. Hoping to guess what is less than his surface is a single of the movie’s greater problems, and just one of its biggest joys, largely simply because he’s scripted and carried out as a villain with a several sympathetic wrinkles, a guy who courts empathy and evokes horror at the identical time.
The Menu usually reads like an expansive edition of a solitary-set engage in, in which a team of people today compelled into close proximity steadily crack below tension and expose new matters about them selves. A large amount of what keeps it likely isn’t that stagey strength, but the staging by itself. production designer Ethan Tobman was inspired by every thing from Luis Buñuel’s devastating 1962 film The Exterminating Angel (another film about smug elites who just cannot escape each other) to German expressionist architecture. He and cinematographer Peter Deming give the movie a harsh, punishing chilliness that emphasizes both of those the absence of consolation or warmth in haute delicacies and the state of Chef Slowik’s intellect. It’s an appropriately sumptuous and sense-pushed movie, with anything putting to search at in every single frame.
The Menu does not constantly incorporate up, although. There’s a unusual unwillingness to commit to the film’s Grand Guignol probable, probably out of a need to maintain the cast about for the closing act. There’s a disconnect between Chef Slowik’s hatred of his guests and the degree of their comparative crimes, some of which are much much more own and significant than some others. The film’s contempt for arrogance and entitlement is simple and enjoyable, but when other motives start driving the story, like Elsa’s jealousy more than Margot or Chef Slowik’s rage more than not owning just about every of his dishes remembered, the revenge tale curdles a bit.
Nevertheless, Reiss and Tracy’s willingness to implicate Chef Slowik along with his vain, area-obsessed plan offers The Menu some startling intrigue. Like the pretentious chef Nicolas Cage phone calls out in Pig, Slowik engineered his own downfall and his possess torment, and The Menu doesn’t enable him off the hook by actively playing out as a clear-cut consume-the-wealthy morality tale. The humor in this film is largely subtle (particularly in the hilariously wry system titles that look on monitor), but it is in the long run as a lot of a comedy as a horror-thriller. There’s some knuckle-biting rigidity as viewers wait to see how it’ll all enjoy out, but Mylod and the writers also advise that it’s worthy of chuckling a small at everyone involved, whether they’re serving up extravagant variations of mayhem or just spending by means of the nose for it.
The Menu premieres in theaters on Nov. 18.