the menu movie review new yorker

The obscenely wealthy are having a tough time at the movies lately. Last month, Ruben Östlund stuck a bunch of them on a luxury yacht and watched them projectile vomit all over each other in “ Triangle of Sadness .” Next week, Rian Johnson will stick a bunch of them on a private Greek island to watch them wonder who among them is a killer in “Glass Onion: A Knives Out Mystery.”

But this week, members of the extreme 1% just get stuck—as in skewered, and grilled—in “The Menu.” Director Mark Mylod satirizes a very specific kind of elitism here with his wildly over-the-top depiction of the gourmet food world. This is a place where macho tech bros, snobby culture journalists, washed-up celebrities, and self-professed foodies are all deluded enough to believe they’re as knowledgeable as the master chef himself. Watching them preen and try to one-up each other provides much of the enjoyment in the sharp script from Seth Reiss and Will Tracy .

But the build-up to what’s happening at this insanely expensive restaurant on the secluded island of Hawthorne is more intriguing than the actual payoff. The performances remain prickly, the banter deliciously snappy. And “The Menu” is always exquisite from a technical perspective. But you may find yourself feeling a bit hungry after this meal is over.

An eclectic mix of people boards a ferry for the quick trip to their storied destination. Chef Slowik’s fine-tuned, multi-course dinners are legendary—and exorbitant, at $1,250 a person. “What, are we eating a Rolex?” the less-than-impressed Margot ( Anya Taylor-Joy ) quips to her date, Tyler ( Nicholas Hoult ), as they’re waiting for the boat to arrive. He considers himself a culinary connoisseur and has been dreaming of this evening for ages; she’s a cynic who’s along for the ride. They’re gorgeous and look great together, but there’s more to this relationship than initially meets the eye. Both actors have a keen knack for this kind of rat-a-tat banter, with Hoult being particularly adept at playing the arrogant fool, as we’ve seen on Hulu’s “The Great.” And the always brilliant Taylor-Joy, as our conduit, brings a frisky mix of skepticism and sex appeal.

Also on board are a once-popular actor ( John Leguizamo ) and his beleaguered assistant ( Aimee Carrero ); three obnoxious, entitled tech dudes ( Rob Yang , Arturo Castro , and Mark St . Cyr); a wealthy older man and his wife ( Reed Birney and Judith Light ); and a prestigious food critic ( Janet McTeer ) with her obsequious editor ( Paul Adelstein ). But regardless of their status, they all pay deference to the star of the night: the man whose artful and inspired creations brought them there. Ralph Fiennes plays Chef Slowik with a disarming combination of Zen-like calm and obsessive control. He begins each course with a thunderous clap of his hands, which Mylod heightens skillfully to put us on edge, and his loyal cooks behind him respond in unison to his every demand with a spirited “Yes, Chef!” as if he were their drill sergeant. And the increasingly amusing on-screen descriptions of the dishes provide amusing commentary on how the night is evolving as a whole.

Of these characters, Birney and Light’s are the least developed. It’s particularly frustrating to have a performer of the caliber of Light and watch her languish with woefully little to do. She is literally “the wife.” There is nothing to her beyond her instinct to stand by her man dutifully, regardless of the evening’s disturbing revelations. Conversely, Hong Chau is the film’s MVP as Chef Slowik’s right-hand woman, Elsa. She briskly and efficiently provides the guests with a tour of how the island operates before sauntering among their tables, seeing to their every need and quietly judging them. She says things like: “Feel free to observe our cooks as they innovate” with total authority and zero irony, adding greatly to the restaurant’s rarefied air.

The personalized treatment each guest receives at first seems thoughtful, and like the kind of pampering these people would expect when they pay such a high price. But in time, the specifically tailored dishes take on an intrusive, sinister, and violent tone, which is clever to the viewer but terrifying to the diner. The service remains rigid and precise, even as the mood gets messy. And yet—as in the other recent movies indicting the ultra-rich—“The Menu” ultimately isn’t telling us anything we don’t already know. It becomes heavy-handed and obvious in its messaging. Mind-boggling wealth corrupts people. You don’t say.

But “The Menu” remains consistently dazzling as a feast for the eyes and ears. The dreamy cinematography from Peter Deming makes this private island look impossibly idyllic. The sleek, chic production design from Ethan Tobman immediately sets the mood of understated luxury, and Mylod explores the space in inventive ways, with overhead shots not only of the food but also of the restaurant floor itself. The Altmanesque sound design offers overlapping snippets of conversation, putting us right in the mix. And the taunting and playful score from Colin Stetson enhances the film’s rhythm, steadily ratcheting up the tension.

It’s a nice place to visit—but you wouldn’t want to eat there.

Now playing in theaters. 

Christy Lemire

Christy Lemire is a longtime film critic who has written for RogerEbert.com since 2013. Before that, she was the film critic for The Associated Press for nearly 15 years and co-hosted the public television series “Ebert Presents At the Movies” opposite Ignatiy Vishnevetsky, with Roger Ebert serving as managing editor. Read her answers to our Movie Love Questionnaire here .

• Ralph Fiennes as Chef Slowik
• Nicholas Hoult as Tyler
• Anya Taylor-Joy as Margot
• Hong Chau as Elsa
• Janet McTeer as Lillian Bloom
• Judith Light as Anne
• John Leguizamo as Movie Star
• Rob Yang as Bryce
• Mark St. Cyr as Dave
• Reed Birney as Richard
• Aimee Carrero as Felicity
• Arturo Castro as Soren
• Christopher Tellefsen
• Colin Stetson

Cinematographer

• Peter Deming

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From ‘The Menu’ to ‘Fresh,’ Movies Are Exploring the Horrors of Rich-People Food

With a pinch of dark humor, “The Menu” on HBO Max and “Fresh” on Hulu explore the potential terrors of feeding the 1 percent.

By Tejal Rao

Listen to This Article

All night long, in increasingly imaginative ways, a chef tells diners that they’ve chosen the wrong guy — the wrong world! — to worship. Here’s the problem: No one believes him.

These diners are used to theatrical dining rooms and V.I.P. culture. They’re used to long, $1,000 fine-dining dinners, and being waited on by a staff that has researched them ahead of time, and kept detailed notes on their personal and professional lives, preferences and behavior.

They’re used to being watched and accompanied everywhere they go, including the bathroom. They hardly blink when they’re shown around the restaurant property, only to see that workers sleep together in a crowded barracks. The extreme inequality is unremarkable.

Even before things turn violent, “ The Menu ,” which opened in theaters in November and currently streaming on HBO Max, and “ Fresh ,” now streaming on Hulu, use horror to magnify the kinks and distortions of luxury dining, and the deceptions that can be necessary to enjoy them.

In “The Menu,” Julian Slowik is the chef of a remote fine-dining restaurant who seems almost in control of his unraveling, played with a cold, hypnotic severity by Ralph Fiennes. The diners are sketches of types who might surround you at dinner — if you booked the tasting menu at an exclusive, three-Michelin-starred restaurant.

This means a trio of interchangeable finance bros who came here to party, a puffed-up restaurant critic who loves to hear herself talk and a couple of old, blunted moneybags, barely awake to each other, let alone to the sensual experience of eating and drinking — the food blurs together, receding in real time, disappearing from memory before they can finish chewing.

Slowik’s most intense fan is the food-obsessed Tyler, played by a quivering, keyed-up Nicholas Hoult, so excruciatingly horny for the kind of genius he’s seen on “ Chef’s Table ,” he can’t help but see it everywhere he looks. (David Gelb, who created that show, brings strokes of its visual style as second-unit director.) Anya Taylor Joy is Margot, his paid escort for the night, scratchy and skeptical, eager to leave. “You don’t have to call him ‘Chef,’” she reminds Tyler, a bit disgusted by his reverence.

“The Menu” is deeply cynical about the nature of service and hospitality. Slowik sees no way forward for himself, or fine dining. He divides the world into “those who give and those who take” and sees that relationship as one of endless, irreversible reciprocal damage — poisonous, warped, hopeless. And though he considers himself one of the givers, in the same group as his workers, he doesn’t sleep in the barracks with them.

Slowik’s tasting menu structures the film, and works as a kind of Rorschach test that characters take and evaluate, course by course, each hearing what they want in his stories and descriptions, and seeing what they want in his glacial, highly manipulated presentations.

“He’s insulting you,” Margot says when the bread course arrives — without any actual bread. “No, no, no,” Tyler insists. “He’s telling a story!” As it turns out, they’re both right.

In “The Menu,” the chef is a psychopathic authoritarian commanding an army of cooks to execute his dark vision of moral absolutism and retribution. As satire, it might be stronger if those cooks didn’t remain nameless, faceless and mostly without lines. Instead, the film focuses on the increasingly frantic diners, occasionally nudging the audience to see it from the chef’s point of view: He wasn’t always a monster! He became a monster through years of devoting himself to pleasing rich people. Now, like them, he’s completely numb to the pleasures of his craft.

Though the characters don’t directly reference the news, the world off the island is essentially ours right now. The restaurant business is fragile, dysfunctional and possibly in the midst of an upheaval as abusive chefs like Slowik are in and out of court for sexual assault, vulnerable workers find power in unionizing and stories about the dangers of meat-processing plants make national headlines. But the takeaway of Slowik’s breakdown in “The Menu” is that change isn’t possible. The whole system has to be burned down.

In “Fresh,” Mimi Cave’s feature debut, a woman gets tangled up in an even more gruesome business that feeds the rich. Noa, played by Daisy Edgar-Jones, is single, and having terrible luck on the dating apps when she meets a nice guy at the grocery store. Steve, played by Sebastian Stan, is handsome, charming, a great cook — and a doctor!

But he’s only pretending to be a doctor. Steve kidnaps women and imprisons them in his basement, cutting, packing and selling them off piece by vacuum-sealed piece to a clientele he describes as the “1 percent of the 1 percent.” He’s a serial killer who thinks of himself as a high-end butcher.

There are nightmarish scenes of body-horror, though the most ordinary, familiar images of food are in some ways more repulsive. When Noa plays along with Steve in order to survive, she’s offered a meatball in tomato sauce and a smear of grainy pâté on toast. The scene is stomach-churning as Noa suppresses the disgust of knowing how the meat got to her plate so she can take a bite. It’s the most extreme version of a familiar self-deception.

As a feminist critique of the meat industry, “Fresh” has a dark sense of humor. “Don’t stress,” Steve says to his victims as he leaves them in their cells, “it’s not good for the meat.” He seems like exactly the kind of guy who might casually bring up Carol J. Adams’s book “ The Sexual Politics of Meat ” in a conversation about why he doesn’t eat animals, when really, he just thought the cover, with its butcher diagram of a woman’s body, looked cool.

The film treats cannibalism as an elite fetish among extremely wealthy men, who prey exclusively on women, and who like their meat delivered with pieces of their victims’ lingerie. Like Tyler in “The Menu,” their curiosity is misdirected, but they get off on knowing more about their food.

Though we only see Steve’s clients in cartoonish glimpses, it’s clear they don’t want to pretend they don’t know the cost of what they’re eating. They want to know the name of the woman who was exploited, and they want to see her photo. The horror here is that however terrible the price, being able to afford it is what makes the food special.

Audio produced by Tally Abecassis .

Follow  New York Times Cooking on Instagram , Facebook , YouTube , TikTok  and  Pinterest . Get regular updates from New York Times Cooking, with recipe suggestions, cooking tips and shopping advice .

Tejal Rao is a critic at large. She writes about food and culture for The Times and contributes regularly to The New York Times Magazine. More about Tejal Rao

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The Menu review: A deliciously wicked food-world satire

Ralph Fiennes and Anya Taylor-Joy go knives out at the restaurant from hell.

If we cannot eat the rich, at least we can enjoy their suffering on screen with a side of fermented sea lettuce and light schaudenfraude in The Menu , a glossy, skewering satire in theaters this Friday. (That it comes from a director who helmed more than a dozen episodes of Succession feels, at the least, apropos.)

Anyone who has ever casually wandered through a high-end farmers' market or been cornered by that guy at a cocktail party who wants to talk about his yeasts knows the heights of obsessive fervor and small-batch self-regard that the mere act of putting food in your body engenders among a certain subset of people with enough time and money to call themselves gourmands. For Tyler ( The Great 's Nicholas Hoult ), it seems to comprise his entire personality: Whatever he does for a living — it's never said, though it must be lucrative — his interests begin and end with the dogged pursuit of elevated eating; if you cook it (or confit it, or turn it into a gelé), he will come.

That's why he's one of a dozen people boarding a boat to a small island to have dinner at Hawthorne, a modernist temple of molecular gastronomy overseen by a celebrated chef named Julian Slowik ( Ralph Fiennes ), and paying $1,250 per head for the privilege. "What, are we eating a Rolex?" Tyler's date Margot ( Anya Taylor-Joy ) scoffs, incredulous — though this crowd probably would, as long as it were served sous-vide. Among the guests, there's a washed-up movie star ( John Leguizamo ) and his fed-up assistant (Aimee Carrero), a starchy older couple ( Reed Birney and Judith Light ) who've already done this many times before, a vaunted critic ( Ozark 's Janet McTeer ) and her toadying editor (Paul Adelstein), and a trio of braying finance bros (Rob Yang, Arturo Castro, and Mark St. Cyr). If anyone doesn't belong there it's Margot, and Julian, his unblinking gaze like an X-ray, seems to know it.

On arrival, the bespokeness of the Hawthorne experience does not disappoint. The windswept island is raw but beautiful, an entire ecosystem devoted to Julian's meticulous dishes; in the distance, a diligent staffer scurries, harvesting scallops fresh from the bay. But Elsa ( Watchmen 's Hong Chau ), the restaurant's unflappable hostess, seems to seethe beneath her faultless civility, and the kitchen staff treat Julian more like a cult leader than a man who makes entrées out of "charred milk lace" for millionaires. It doesn't take many courses — an opulent parade of breadless bread plates, elaborately tweezered proteins, and unknowable foams — for the bloody unraveling to begin.

The script, by Seth Reiss and Will Tracy, has no shortage of broad targets on its dartboard; when have the follies of the rich and feckless not been easy fodder for black comedy? Hoult is very good at playing a priggish foodie fanboy, though if his character were a dish, it would doubtless be dismissed by Julian as one-note; all acid, no umami. Light, as a tremulous Stepford wife watching her world unravel with each glass of natural wine, does an enormous amount of acting with very few lines, and McTeer plays her imperious critic with casual, note-perfect hauteur. Taylor-Joy brings a cagey survivalism to Margot, a girl who gives the sense she's had to get herself out of ugly scenarios many times before, and the notes Chau hits are delicious, a symphony of passive-aggressive bitchery.

It's Fiennes, though, who most makes a feast of his role. The Menu 's swishy, gleeful satire is not his ordinary milieu, but he's too good an actor not to turn Julian into a far better monster than we probably deserve, careening between sniffy pique, red-hot malevolence, and small, strange pockets of tenderness. The movie loses some momentum in the final third, and tends to over-egg its caricatures of all these platinum-card fools and clueless masters of the universe. But its appetite for destruction is also too much fun in the end to refuse: a giddy little amuse bouche for the apocalypse to come. Grade: B+

Related content:

• The secrets behind the authentically pretentious food in The Menu
• The Menu star Hong Chau was so convincing as a restaurant manager, she got offered a job
• Anya Taylor-Joy ate Nicholas Hoult's leftovers while shooting The Menu

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The Menu Reviews

In the end, The Menu is a little like an unrisen souffle. Delicious but not quite as lofty as it hoped.

Full Review | Original Score: 3/5 | Dec 11, 2024

This gourmet show takes unforeseen directions when each step of the menu is transformed into a theatrical act, where the tension will go to a crescendo and the experience that chef Slowik and his team have prepared is not what the diners expected...

Full Review | Original Score: 8/10 | Aug 22, 2024

The Menu is an entertaining horror satire with a marvelous ensemble cast but fails to deliver a slightly interesting punch line.

Full Review | Original Score: 3/5 | Aug 7, 2024

“The Menu” demonstrates how capitalism and its relationship to consumerism can actively suck the joy from creatives, particularly as they attempt to fulfil the needs of the most affluent and entitled consumers.

Full Review | Original Score: 4/5 | Jul 15, 2024

“The Menu” suggests that such fanatism to an ephemeral art which requires hard work and isolation could lead to a cult like atmosphere brewing insanity and resentment

Full Review | Jun 8, 2024

There were so many moments I loved

Full Review | Apr 24, 2024

Its A Solid B

Despite knowing how the story goes and where the twists and turns are, The Menu is a film that I can see myself going back to again and again.

Full Review | Original Score: A- | Mar 1, 2024

The movie captivated the audience in a way that held us hostage to Chef Slowik's emotional manipulation. This was cunningly executed.

Full Review | Original Score: 4/5 | Nov 29, 2023

The Menu perfectly and sharply captures the milieu of this fine dining world with a scathing takedown of the condescension and pretension that fuels it.

Full Review | Nov 2, 2023

Black satire skewers the world of haute cuisine.

Full Review | Oct 4, 2023

With splashes of horror and comedy, The Menu explores the world of fine dining restaurants. The movie has a stellar cast, including Fiennes and Taylor-Joy, who are incredible and magnetic together.

Full Review | Sep 8, 2023

The Menu delivers an engaging time and will leave the audience with a tantalizing sardonic meal.

Full Review | Sep 6, 2023

...when the writers found themselves in a difficult plot situation, they resorted to the cheat of some sort of magical powers the Chef can weld with a whisper. Each time such a moment happens, the film begins to lose its grip on the reality of horror.

Full Review | Original Score: C+ | Aug 9, 2023

The Menu is a perfectly cooked, deliciously evil delight of a film that definitely won't be to everyone's tastes, but if it's your sort of dish at all, you're all but guaranteed to love every minute of it.

Full Review | Original Score: 4.5/5 | Aug 4, 2023

This gastronomic experience leaves no space for its comedic quips or food for thought, leaving way too much to be desired.

Full Review | Original Score: D | Jul 29, 2023

In a unique pairing with the palpable tension comes the dark humor of the film— two facets that usually do not go hand in hand in film as laughter famously diffuses any built up tension, but The Menu cooks up a balance that really works.

Full Review | Original Score: 4/5 | Jul 26, 2023

“The Menu” is best explained by Hong Chau’s Elsa when she whispers to one of the guests during dinner: “You’ll eat less than you desire and more than you deserve.”

Full Review | Jul 25, 2023

A delicious satire that bites right into any industry that people obsess over. A haunting watch but one that will have you laughing & completely in love with the script.

The Menu deserves to be seen with very little knowledge of the plot. Even the trailers (and likely this review) give too much away. It’s a dark, vicious satire that expertly unfolds itself over the course of ten dishes.

Full Review | Jul 24, 2023