A five-star meal where the main course is a scathing roast of the ultra-rich.

Prepare to savour every meticulously plated layer of horror and humour in this blackly comic feast that skewers the pretensions of fine dining and the follies of the elite. What begins as an exclusive culinary experience spirals into a night of reckoning, blending sharp social satire with escalating dread.

  • The film’s ingenious menu structure mirrors a brutal takedown of class divides, celebrity chef worship, and consumer excess.
  • Symbolism abounds in each course, from s’mores representing lost innocence to the final smoke signalling ultimate rebellion.
  • Standout performances, particularly Ralph Fiennes’s chillingly charismatic chef, elevate the script into a masterclass of tension and wit.

A Reservation from Hell: The Plot That Devours Its Guests

The film unfolds on the secluded Hawthorn Island, where a select group of affluent diners arrives by boat for what promises to be the dining experience of a lifetime. Led by the enigmatic Chef Julian Slowik, portrayed with magnetic intensity by Ralph Fiennes, the evening commences with an air of exclusivity and anticipation. Margot, played by Anya Taylor-Joy, stands out as the sole interloper, a sex worker accompanying food critic Tyler Ledford, whose obsession with authenticity borders on fanaticism. As the courses roll out, subtle cracks appear in the facade of perfection: the staff’s unwavering devotion hints at something sinister beneath the surface.

From the hawthorn-scented air bread, a seemingly innocuous starter that evokes memories and triggers unease, the menu progresses with deliberate precision. Each dish serves not just as sustenance but as a narrative device, peeling back the diners’ veneers of sophistication. Tyler’s insistence on "the menu" – experiencing it as intended – sets him apart, while the business magnate Richard and his wife Anne grapple with the discomfort of their own superficiality. The chef’s monologues, delivered with theatrical flair, begin to expose the diners’ hypocrisies, turning the meal into a public execution of egos.

Midway, the horror sharpens as the staff reveals their entrapment in the toxic cycle of culinary ambition. A former line cook’s desperate plea underscores the human cost of perfectionism, while the sommelier’s blood-soaked presentation escalates the stakes. Margot’s outsider perspective allows her to navigate the chaos, forging an unexpected alliance with the chef that humanises him momentarily. The penultimate course, a personalised "message" for each guest, delivers poetic justice: the critic receives pages of scathing reviews he’s penned, the foodie influencer a mountain of her vapid content.

The finale erupts in flames, quite literally, as the island becomes a pyre for pretension. Margot’s simple cheeseburger request – a nod to genuine comfort food – becomes her salvation, contrasting the emperor’s new clothes of molecular gastronomy. Chef Slowik orchestrates his own demise with operatic grandeur, inviting the diners to join in a communal chant before the inferno consumes all. This meticulously crafted narrative structure ensures every element propels the satire forward, leaving audiences both repulsed and reflective.

Plating the Critique: Satire Sharp as a Boning Knife

At its core, the story wields satire like a chef’s knife, slicing through the absurdities of high-end dining culture. The film’s portrayal of wealthy patrons who treat meals as status symbols exposes the commodification of art. Tyler embodies the worst of foodie fanaticism, parroting jargon without true appreciation, a caricature of Instagram-age gourmands who prioritise spectacle over substance. This mirrors broader societal ills where experiences are curated for social media validation rather than personal fulfilment.

Class warfare simmers throughout, with Margot’s working-class roots positioning her as the revolutionary force. Her rejection of the elite’s games culminates in a triumph of authenticity over artifice. The chef himself rails against the industrialisation of cuisine, lamenting how his passion was corrupted by investor demands and celebrity status. This resonates with real-world scandals in fine dining, where Michelin-starred kitchens often mask grueling labour conditions behind glossy facades.

Gender dynamics add another layer, as female characters like Elsa and the hostess navigate a male-dominated culinary world. Margot’s agency disrupts the patriarchal script, turning her from object to orchestrator of escape. The film’s humour, dark and deadpan, punctuates the tension – lines like the sommelier’s water tasting evoke uncomfortable laughter, underscoring how privilege blinds individuals to their own ridiculousness.

Environmental undertones emerge too, with the island’s isolation symbolising detachment from consequences. The destruction of Hawthorne’s pristine ecosystem parallels the diners’ wastefulness, critiquing sustainability hypocrisy among the elite. These elements coalesce into a multifaceted assault on consumerism, where the ultimate luxury becomes self-destruction.

Courses of Symbolism: Every Bite Tells a Story

The menu itself functions as a metaphorical roadmap through human folly. The opening bread course, infused with personal memories, forces confrontation with the past – a reminder that no one escapes their origins. The "chef’s table" for the investor trio devolves into a reenactment of workplace drudgery, using staff as human sushi conveyor belts to mock corporate exploitation.

The ortolan bun, a rare bird suffocated and flambéed, epitomises excess and ethical blindness. Diners consume it hoodlum-style, bags over heads, embodying wilful ignorance. Tyler’s messianic complex peaks here, his self-immolation a sacrificial offering to purist ideals gone mad. Meanwhile, the s’mores for the young couple evoke childhood simplicity, twisted into a harbinger of doom for lost innocence in a commodified world.

The "messages" course delivers bespoke humiliations: endless tortillas for the Mexican restaurant owner who’s sold out, or a pyramid of phones for the influencer. These personalised torments highlight how individuals perpetuate the systems they decry. Margot’s handwritten note from her father – a poignant fabrication – humanises the chef’s cruelty, revealing his own paternal wounds.

Smoke as the final course symbolises purification through destruction, a fiery reset button on elitism. The cheeseburger, humble and hearty, stands in stark opposition, affirming that true satisfaction lies in the unpretentious. This culinary allegory elevates the film beyond genre tropes, embedding profound meaning in every morsel.

Kitchen Nightmares Made Real: Production and Influences

Director Mark Mylod drew from personal dining horrors and Seth Reiss and Will Tracy’s script, honed during the pandemic when restaurant culture faced scrutiny. Filming on location amplified claustrophobia, with practical effects enhancing the gore’s intimacy – think real flames licking sets for authenticity. The production mirrored the film’s themes, with cast and crew enduring intense shoots to capture escalating mania.

Influences span from Luis Buñuel’s surrealist banquets in The Exterminating Angel to The Cook, the Thief, His Wife & Her Lover‘s visceral feasts, but updated for TikTok-era vanities. Sound design plays a pivotal role: clinking cutlery builds dread, while Nicholas Britell’s score swells from minimalist to cacophonous, syncing with the menu’s rhythm. Cinematographer Peter Deming’s compositions frame dishes like artworks, only to subvert them with horror.

Marketing cleverly teased without spoilers, positioning it as elevated horror amid awards chatter for its cast. Post-release, it sparked debates on foodie culture, with chefs praising its accuracy while others decried the caricature. Box office success, bolstered by streaming, cemented its cult status swiftly.

Reception with a Side of Controversy: Critical Acclaim and Debates

Critics lauded its wit and execution, earning a 89% on Rotten Tomatoes for balancing horror and humour. Fiennes’s performance drew Oscar buzz, his Slowik a villain you root for amid monologues blending rage and pathos. Taylor-Joy solidified her scream queen mantle, her steely gaze conveying worlds of defiance.

Some quibbled at pacing in the back half or uneven ensemble focus, yet its thematic bite endured. Podcasts dissected its prescience post-#MeToo and amid gig economy exposés. For horror fans, it slots into "elevated" subgenre alongside Midsommar and Ready or Not, proving satire thrives in terror.

Audience reactions split along lines: foodies winced at truths, while casual viewers revelled in schadenfreude. Its streaming surge introduced it to younger crowds, sparking memes and recipe recreations – minus the murder, of course.

A Lasting Aftertaste: Legacy in Progress

Though recent, echoes ripple: parodies on late-night shows, think pieces on dining post-pandemic. Potential for franchise teases unexplored corners of Slowik’s world. Collector’s editions with menus appeal to horror memorabilia hunters.

In broader culture, it catalyses conversations on authenticity versus performance, influencing perceptions of celebrity chefs amid scandals. Margot’s arc inspires as underdog triumph, resonating in populist times.

Director in the Spotlight: Mark Mylod’s Command of Chaos

Born in 1965 in England, Mark Mylod emerged from theatre and music videos into television directing, gaining acclaim for prestige dramas. His breakthrough came helming episodes of Shameless (US, 2011-2016), capturing raw family dysfunction with kinetic energy. He elevated Game of Thrones (2014-2016) through spectacles like the Battle of the Bastards (Season 6, Episode 9), blending scale with intimacy.

Mylod’s HBO tenure peaked with Succession (2018-2023), directing pivotal episodes like "Nobody Is Ever Missing" (Season 2, Episode 9) and the finale "With Open Eyes" (Season 4, Episode 10), mastering boardroom savagery and Shakespearean tragedy. Influences from Peter Greenaway and Greenaway’s painterly violence infuse his work. Transitioning to features, The Menu (2022) marked his sophomore film after Motion by the Sea? No, actually his feature directorial debut post-TV, though he produced others.

Comprehensive filmography includes: Alison Jackson’s Concert for George (2002, documentary); TV highlights: Dirk Gently’s Holistic Detective Agency (2016, episodes); Westworld (2018, Season 2, Episode 5 "Akimbo"); The Loudest Voice (2019, multiple episodes); His Dark Materials (2020, Season 2 premiere). Upcoming: Fantastic Four (2025) for Marvel, showcasing range from intimate satire to blockbuster. Mylod’s career reflects meticulous preparation, often storyboarding obsessively, earning peers’ respect for elevating scripts visually.

Post-Menu, he guest-directed The Last of Us (2023, Season 1, Episode 2), blending horror roots with emotional depth. Awards include Emmy nominations for Succession, cementing his status as a director who thrives on high-stakes human drama.

Actor in the Spotlight: Ralph Fiennes’s Slowik Symphony

Sir Ralph Fiennes, born 22 December 1962 in Suffolk, England, rose from Royal Academy of Dramatic Art training to theatre stardom in Schindler’s List (1993) as chilling Nazi Amon Göth, earning Oscar and BAFTA nods. His breakout blended aristocratic poise with menace, defining villains like Voldemort in the Harry Potter series (2005-2011).

Fiennes’s versatility spans The English Patient (1996, Oscar-nominated lead), The Grand Budapest Hotel (2014, comedic gem), and The King (2019, Shakespearean monarch). Theatre triumphs include Faith Healer (Tony-nominated, 2006) and Antony and Cleopatra (2010). Influences from Laurence Olivier shape his command of verse and subtlety.

Key filmography: Wuthering Heights (1992, Heathcliff); Quiz Show (1994); Strange Days (1995); Othello (1995); The End of the Affair (1999); Onegin (1999); Red Dragon (2002); Spider (2002); The Constant Gardener (2005); Harry Potter and the Goblet of Fire (2005) through Deathly Hallows Part 2 (2011); The Duchess (2008); The Reader (2008, producer); Coriolanus (2011, director/star); Skyfall (2012, M); The Invisible Woman (2013); The Lego Movie (2014, voice); Spectre (2015, M); A Bigger Splash (2015); No Time to Die (2021, M); The Forgiven (2021); The Menu (2022); Conclave (2024). Knighted in 2019, Fiennes embodies chameleonic intensity, making Slowik a career highlight of controlled fury.

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Bibliography

Britell, N. (2022) The Menu Original Motion Picture Score. Hollywood Records. Available at: https://music.apple.com/us/album/the-menu-original-motion-picture-soundtrack/1657845234 (Accessed 15 October 2024).

Kelley, S. (2022) ‘“The Menu” Director Mark Mylod Breaks Down That Final Scene and Ralph Fiennes’ Big Monologue’, Variety, 25 November. Available at: https://variety.com/2022/film/news/the-menu-mark-mylod-ending-explained-ralph-fiennes-1235447471/ (Accessed 15 October 2024).

Reiss, S. and Tracy, W. (2022) The Menu screenplay. Searchlight Pictures.

Rosky, D. (2023) ‘An Interview with Mark Mylod: Directing The Menu and Succession’, Collider, 10 January. Available at: https://collider.com/the-menu-mark-mylod-interview/ (Accessed 15 October 2024).

Tallerico, B. (2022) ‘The Menu Movie Review’, RogerEbert.com, 18 November. Available at: https://www.rogerebert.com/reviews/the-menu-movie-review-2022 (Accessed 15 October 2024).

Travers, P. (2022) ‘The Menu Review: Ralph Fiennes Serves a Tasty Dish of Class Warfare’, ABC News, 16 November. Available at: https://abcnews.go.com/Entertainment/menu-review-ralph-fiennes-serves-tasty-dish-class/story?id=93927637 (Accessed 15 October 2024).

West, K. (2023) Elevated Horror: From Get Out to The Menu. University of Texas Press.

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