Directed by Ralph Fiennes, Anya Taylor-Joy and Nicholas Hoult, The Menu is Mark Mylod's fourth feature film after The Big White, Ali G and Sex List. But the filmmaker has mainly distinguished himself through the small screen since he has staged episodes of Shameless, Entourage, and Once upon a Time, The Affair or Game of Thrones. This time, Mark Mylod decides to rush into another type of cinema: the paranoid and horrific thriller. Review of The Menu: The Menu: A Delicious Meal The Menu tells the story of a couple: Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult), who travel to a remote island to dine at one of the hottest restaurants of the moment with other handpicked guests. And against all odds, <em>Le Menu is a clever and effective little game of perverse manipulation, full of black humor. This astonishing and artistic hostage-taking of the chef (Ralph Fiennes) is of permanent intelligence. 
By this perverse game that could identify itself as a spin-off of Saw in less hardcore and regressive, The Menu offers a sharp criticism of a snobbish society totally disconnected from reality. Mark Mylod puts together a fascinating critique of an intellectualism pushed to excess, absurd and even dangerous for our contemporary society. Somewhere between Saw and the recent Unfiltered, Le Menu takes a corrosive look at the perversity of our modern society. A questioning of art itself Almost in a meta way, the filmmaker uses art to denounce a modern artistic performance that turns into a nightmare. The Menu is a reflection on the disruption of art for profit, for the satisfaction of a personal ego. In fact, the filmmaker approaches this theme with two bous. He criticizes both the laziness of a lazy artistic dimension, which is not renewed and is content to propose the bare minimum, especially through the character of John Leguizamo who embodies a movie star on the decline. But also through the artistic experience, the modern performance that comes out of its gongs, and becomes downright a danger of death for its spectators. As if art should be somewhere in the middle, without being lazy or complacent in the way it talks to its audience. 
The Menu, especially through the food critic character embodied by Janet Mc Teer, is an examination of a rich and posh societal sphere that uses culture and art as a pedestal, as a springboard to despise the little people, as an ethnic differentiator and wealth. The character of Anya Taylor-Joy is reason, reflection, surrounded by participants who lost their identity and reason for living long ago. It is the common mortal in the midst of sectarian, greedy, greedy, alienated and egocentric art worshippers. An intelligent staging The Menu owes much to the presence of Anya Taylor-Joy and Ralph Fiennes who bring the feature film together. A sadistic and clever game is set up between them. And we would have liked the outcome of their confrontation to last longer. The film would have gained in impact if this confrontation between these two characters, between these two camps, is stretched to let speak even more the manipulation and the alertness of its heroes. 
Even if The Menu is sometimes a little bit long, it is an intelligent work. Divided into chapters that bear the names of different dishes, the film offers a plot under pressure in a clever closed eight. We would have liked some characters to be highlighted more, but in any case, The Menu is a satirical analysis of a perverse society that no longer knows how to prioritize what is important and what is fleeting… Somewhere between Saw and the recent Sans Filtre, Le Menu is a clever little perverse and manipulative game that points the finger at the egotrip and the complacency of a rich and snobbish social caste. Full of black humor, it's an exciting culinary experience
