"The Menu" - Claps Yes, Chef

Josh
Oct 9, 2024
4 min read

Mark Mylod (2022)

Never laughed so hard and someone explaining a wine pairing.

What happens when the art evolves beyond to something unrecognisable within its own medium. And if the first thing that came into your mind was the abstract absurdist “art” piece by Maurizio Cattelan known as “Comedian” that’s just a banana taped to a wall, then you’ll get a kick out of The Menu by Mark Mylod. A fantastic take on the celebrity artist and the expectations weighing down on what is required to remain on top the continuous pressure to take their art to the next level as to not get left behind. As to not be seen as a has-been. And then topped with making fun of the wealthy that enjoy being involved in these experiences despite not respecting the art as long as it’s got a hefty price tag.

The Menu’s art form, if you didn’t guess by the title, is the culinary arts. Seth Reiss and Will Tracy satirises the world of the celebrity chef with a pretty obvious homage to Gordan Ramsey and Hell’s Kitchen, with the Hawthorn logo looking very similar. Ralph Fiennes plays Chef Slowik, a militant style chef as every response is met with a loud and synchronised, ‘Yes, Chef’. And he plays such a strict and tired artist who despises the shallow people who look up to him and is willing to spend an exorbitant amount of money to feel exclusive. He invites a diverse group of patrons to a private island experience at the low low price of $1,200+ a head. Setting the strange almost ‘Midsommar’ feeling, seeing this symbiotic community between the Chef and the staff in a remote location.

All the restaurant goers have memorable traits and moments that Chef exploits over the course of the film. From the top 1% who go on these experiences without caring about said experience (Reed Birney, Judith Light), to a has-been celebrity with clueless assistant (John Leguizamo, Aimee Carrero), up-themselves tech-bro’s (Rob Yang, Arturo Castro, Mark St. Cyr), know it all self-professed internet foodies (Nicholas Hoult), snobby food critics and spineless assistants (Janet McTeer, Paul Adelstein) along with those who provide personal experiences themselves for other people(Ana Taylor-Joy). Chef gives them high concept food that never fails to make me laugh. Serving them rocks with small edible plants or a dipping plate with no bread because “bread is a food for the poor”. And as the intention behind the event starts to reveal itself, Chef utilises food to expose the flaws behind these people which further adds to their character. The only one that felt like there could be conflict but fell a bit flat was between the 1% husband and wife and the crossroads between Nicholas Hoult and Ana Taylor-Joy. A twist reveals that the boyfriend and girlfriend dynamic between Hoult and Taylor-Joy isn’t what it seems, and that she coincidentally entwined with the life of the 1%. Although, as this information is revealed Judith Light doesn’t really get a chance to shine at the situation but is instead rather passive about it all.

The trailer shows the film to be more of a horror movie but it leans more to a comedic tone. Leaning into the tropes of food programs with up close sexy shots of the food that take a comedic spin. Even smaller elements that take place in the background, shout out to the Chefs Mother (Rebecca Koon) and the Sommelier (Peter Grosz) who never failed to make me laugh. And seeing how all the crew worship their Chef and even when the guests start to freak out the Head Waiter (Hong Chau) still remains calm, professional but also threatening. Although, what stops me from fully loving this movie is the ending. The ending of the Chefs character arc I found to be satisfying, having Ana Taylor-Joys character not letting into the Chef's BS and asking him to make something we wanted to make. Which is more of a testament to Ralph Fiennes's performance because he lets his characters slip to his true self but he doesn’t let it be fully seen. However, the ending ended, I wasn’t huge on. I didn’t see it as a proper comeuppance for the socialites or a conclusion for the Chef.

From the satirical world of the Onion, Seth Reiss and Will Tracy wrote an engaging and funny script poking fun at the rich and farce that is high concept art. With a truly solid cast with no weak performance, everyone was sold on this premise. It’s shot beautifully as the camera floats between the divide of the customer and strict kitchen. Even if you’re a snobby art critic, apart of the daft 1% or just a casual foodie I would give this movie a chance.