The Menu

Grear concept, breathtaking performances, but the ending is a bit strange to be honest, I don’t know what to say about it. Don’t like it. Makes the movie from awesome to just good. Overall it is a great thriller.

I loved this. Dark humor was hilarious (Nicholas Hoult steals the show), social commentary was on point, and it was just the right amount of scary/thrilling. The most fun I’ve had watching a movie in a while.

And it’s now on HBO so you have no excuse to not watch!

This shit was straight ass

Although I think the point was that the guests developed some sort of Stockholm syndrome to some degree, I still found it unrealistic that there was barely any attempt to escape unless handed to them. Regardless of this unrealism which I mostly ignored, it was wonderfully odd.

The Menu is a film that completely lives up to its reputation as a one‑of‑a‑kind experience, and going into it cold without watching any trailers turned out to be the best possible choice — it delivers one of the most surprising and satisfying turns I have encountered in a long time, leaving me genuinely captivated as the evening unfolds. The storyline follows a young couple arriving at Hawthorn, an ultra‑exclusive restaurant on a remote private island, where the menu is crafted by the legendary Chef Julian Slowik. What begins as a night of anticipation and fine dining gradually shifts into something far more controlled, unsettling, and darkly humorous, with a narrative structure that unfolds just like a tasting menu itself: each course reveals a new layer of meaning, building tension and mystery in a deliberate, carefully paced way. The concept feels entirely fresh and original, something I have never seen executed quite like this before, and the central idea holds a sharp mirror up to modern society — commenting on how people will go to extraordinary lengths just to eat at certain venues, and the empty culture of sharing every meal and experience on social media for status rather than genuine enjoyment. The resolution at the end is clever and deeply satisfying, wrapping up the story in a way that feels both unexpected and perfectly true to the tone of the whole film.

At the heart of it all are performances that bring every character vividly to life. Ralph Fiennes is exceptional as Chef Slowik; I have seen him in many roles before, and he never disappoints, bringing a quiet, commanding intensity, a simmering weariness, and a chilling sense of purpose that makes him both intimidating and strangely sympathetic. Nicholas Hoult, in the first time I have seen him on screen, plays Tyler with such perfect, cringey devotion to food and celebrity culture that he does the role complete justice — he is so convincingly pretentious and wrapped up in his own enthusiasm that you feel exactly the reaction the character is meant to inspire. Above all, Anya Taylor‑Joy’s Margot stands out as one of the most compelling characters I have watched on screen; she is sharp, sassy, quick‑witted, and refreshingly unimpressed by the pomp and ceremony around her, refusing to take herself or the absurd situation too seriously. She is cunning, self‑assured, and the perfect outsider who sees through the performance, making her the audience’s anchor and the true heart of the film. The entire supporting cast also delivers strong work, bringing their roles to life in ways that keep the story engaging and unpredictable throughout.

Director Mark Mylod brings a sharp, precise vision to every frame, using the isolated island setting and the confined space of the restaurant to amplify the sense of claustrophobia and control. The filmmaking is meticulous, with careful framing, smooth camera work, and lighting that shifts from warm and inviting at the start to colder, starker tones as the evening goes on. The technical elements are flawless — the production design captures the sleek, minimalist luxury of the restaurant while also hinting at something more clinical and unsettling beneath the surface, and the editing keeps the pacing tight and focused, never letting the tension drop. The music and soundtrack complement this perfectly, with a score that feels elegant and

refined at first, before taking on a more tense, eerie quality that builds steadily alongside the story, never overpowering the action but always guiding the mood.

The tone of the film balances dark comedy, thriller, and social satire with remarkable skill; it can make you laugh one moment and feel uneasy the next, creating an atmosphere that is constantly engaging and unpredictable. Its greatest strengths lie in its originality, its razor‑sharp commentary on class, celebrity, and the emptiness of modern luxury culture, and the way it uses its simple premise to explore much bigger ideas. If there are any minor weaknesses, it is that some of the supporting guests are sketched more as broad types than fully rounded people, though this serves the story’s themes perfectly and never feels like a meaningful flaw.

When it comes to audience suitability, this is a film best enjoyed by mature viewers aged 15 and up. It contains strong language, moments of psychological tension, and darker thematic elements, but it is never gratuitous or overly graphic. It is ideal for anyone who enjoys thrillers with a strong satirical edge, sharp dialogue, and a story that stays with you long after the credits roll.

All in all, The Menu is a remarkable, unforgettable watch — easily one of the highest‑rated films for me. It is clever, entertaining, and far more layered than it first appears, delivering a unique experience that feels both thought‑provoking and thoroughly enjoyable from start to finish.

actually pretty good, wish I'd seen the movie before all the YouTube shorts though.

also, I love Tyler's bullshit