If you're someone who considers himself a foodie, chances are there was a time in the last few years where you had The Awakening. That may have been when the waiter was describing the beef marrow with whipped foam served with New Zealand baby lettuce. It may have been when you were eating the snapper that was half cooked, like a rare steak, and you thought, "I love sushi, I love cooked fish, but I'm not sure this is really the best of both worlds." ". .” It may have been when you saw the bill.
Whatever the trigger, that was the moment he looked up from his plate and realized that high-end food culture has become a serious nuisance. It has become too fussy, too expensive, too full of itself, too little full (of yourself), too avant-garde and conceptual, too tied to Save the Planet, too much of a test. Did I mention too expensive? Before, if you wanted to ridicule culinary mania, you made fun of someone like Guy Fieri. But he has risen from the ashes of infamy to a kind of reborn respectability. Now, if you want to ridicule culinary mania, the most natural targets are restaurants like The French Laundry in Napa Valley or Bros' in southern Italy, places where the 12-course "tasting menu" can inspire you to think, as one blogger. that "nothing even resembling a real meal was served".
Director: Mark Mylod
Writers: Seth Reiss, Will Tracy
Stars: Anya Taylor-Joy, Ralph Fiennes, Nicholas Hoult
That's the food culture that "The Menu" takes on and skewers, slicing and dicing with hilarious and shocking suspenseful enthusiasm. Most of it is housed within the metallic contours of an exalted designer restaurant, a temple of haute cuisine called Hawthorne, that is special enough to be located on its own island: Hawthorne Island, a 12-acre destination in the farm-to-table where the rich, famous and pretentious pay $1,250 a head to sample the ever-changing tasting menu put together by chef Slowik (Ralph Fiennes). He's a dour cooking guru who is at once a self-inflated artist, a drill sergeant for his army of cooks (who work beyond diners in an open kitchen), and an agri-food cult leader, presenting each dish with a thunderous hand applause and a monologue explaining its meaning. "Don't eat," he tells diners. "Taste." But the exhortation to try without eating is a form of chef's narcissism. It is a legend in his own mind that he has forgotten what food is for.
“The Menu” is a black comedy, but it is played to the letter. And it's a thriller, because after a while what is served to diners goes from pretentious to dangerous. Even danger becomes a form of snobbery: that's how important food is. However, the tasty joke of “The Menu” is that the food doesn't matter at all. Food is an abstraction, an idea, all generated to fulfill a notion of perfection beyond the hereafter that has little to do with sustenance or pleasure and everything to do with the vanity of those who create food and those who consume it. it's.
The latter, in this case, are a set of diner victims brimming with theatrical flaws like characters in a "Knives Out" movie. That's why knives are out for them. They get what they deserve just for coming to this restaurant, for embracing the dream that this is the food they've earned, because that's how cool and prosperous and elitist they are.
Tyler (Nichols Hoult), a devout foodie, already knows that he will love whatever is served. He had brought along a date, Margot (Anya Taylor-Joy), who isn't that interested; in fact, she becomes the representative of the cynically level-headed and commonplace audience she sees through all the swagger on display. Lillian (Janet McTeer), a food critic, prides herself on writing the kind of reviews that shut down restaurants, so we know she deserves it. There's also a trio of tech bros (Arturo Castro, Rob Yang, and Mark St. Cyr) who, between the three of them, embody every flavor of disgusting. And there's a much-loved but fading movie star, played by John Leguizamo, along with his assistant (Aimee Carrero), who is using dinner as a pretext to break up with him.
“The menu” is divided into dishes, with each dish and its ingredients listed on screen, and for a moment the film is content to lampoon food. The first course is foamy (an indication that it will not melt in your mouth but will evaporate before you can enjoy it). And that's the down-to-earth dish. Each of the following represents more and more of a deconstruction of food as we know it.
Watch The Menu 2022 Movie Trailer
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