The Menu

An entertaining satire, only lightly tinged with horror, that sacrifices pure genre pleasure in the second half, which would have required at least a basic believability of the characters' behaviour to keep the concept going, and, as a result, it ironically becomes part of what it’s mocking. That said, the fun more or less doesn't let up, and the great actors pull it off. (17/11/2022)

A luxury restaurant and a film of similar nature must have a concept, but here, starting from about the fourth course, it began to fall apart in terms of credibility and ideas. Perhaps this is because the characters offer only caricatured traits for a run-of-the-mill satire (except for Hoult’s character, who, due to being deep in the chef's anus, somewhat fails to perceive what’s happening). I bet that if Fiennes took off his chef’s coat, we’d see a dragon tattoo covering his entire back. Nevertheless, it doesn’t change the fact that Mark Mylod should hand in his apron. (09/01/2023)

Another shallow satirical slurry built on prefabricated procedures and assiduous masking of fast-food ideas with a conceptual masquerade. It’s neither insightful, nor funny, nor shocking. It’s nothing. They invite you in for a refined dining experience and serve you something that looks fancy but tastes like a burger from the drive-through window. No compliments to the chef. (07/01/2023)

SPOILERS! Such potential. And such a mediocre film. Instead of an intelligent sociological study of the conflict between social classes, The Menu turned out to be a bittersweet tale about an angry chef who punishes some for once criticizing his cooking and others for something else completely unrelated. And this tale is told in an unimaginative and, in places, even silly way (the theatrical punishment of the angel investor, without whom the chef wouldn’t even have had a restaurant). The main villain is worthy of zero respect. Even the character of the restaurant critic is not construed as a metaphor for the film reviewers who would like to rip this film. The main character (Anya Taylor-Joy) is the only one who makes sense with her perception of the situation and her reactions to it. She also gives the plot concept the only imaginative creative impetus by revealing her identity. A weak three stars. (23/11/2022)

A refreshing social horror film that at times pretends to be something more, but in the end doesn't want to be anything else. We like ordinary things and therein lies the twist! Black humour and revenge for the emptiness caused by empty people + the captivating Anya Taylor-Joy are the best ingredients of this culinary treat. It wasn’t completely flawless, but sometimes striving for perfection is enough. (04/01/2023)