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BankofMarquis (1832 KP) rated The Menu (2022) in Movies
Nov 24, 2022
Puts the DARK in Dark Comedy
If a Film Comedy is Milk Chocolate and a Dark Comedy is Dark Chocolate, then the new film THE MENU (Directed by Mark Mylod - Game of Thrones) is the SPECIAL INTENSE (90%) Dark Chocolate of films.
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of it’s clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the “Foodie” World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEEN’S GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowik’s main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennes’ character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. It’s a tightrope walk to be sure, and Mylod pulls it off.
It’s the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And I mean that as a compliment.
Written by Seth Reiss and Will Tracy, THE MENU tells the tale of an exclusive, isolated restaurant, the 12 clients that head out to the secluded island this restaurant is on and the ego-maniacal, celebrity chef that runs this restaurant - and this dining experience. What starts out as a satire of these types of restaurants, the chefs and the hero-worship of it’s clientele turns into something much, much more sinister.
This is a film in 2 parts - the first part is a satire of the “Foodie” World with the dishes being somewhat absurd - and believable - as the attendees gush over the dishes, trying to interpret what they are being served and why. The 2nd half turns darker - as the real theme of the night emerges - but it is not the horror/slasher film that one is led to believe in the trailer, it is more of a psychological suspense thriller with some gore to accentuate the themes. (But make no mistake, there IS gore).
Ralph Fiennes (Voldemort in the Harry Potter films) is the perfect choice as the central figure in this film, Chef Slowik. He controls the screen by standing still and when he speaks and goes into action he pulls the audience - and his clientele - into his web.
Anya Tayor-Joy (THE QUEEN’S GAMBIT) is growing into an actress that is extremely interesting to watch on film and she more than holds her own up against Fiennes in their scenes together. She becomes just as much a force as he is.
The supporting characters in this adventure are interesting ranging from the always good John Leguzamo to Judith Light to Nicholas Hoult and Janet McTeer. They all flesh out characters that could have been just 2 dimensional background characters, but in the capable hands of these performers, they become much more.
Special notice needs to be made of Hong Chau (DOWNSIZING) as Chef Slowik’s main assistant. She pretty much holds down the center of the first part of this film (as we build up the entrance of Fiennes’ character) and she pulls it off with an understated strong performance.
Director Mylod treads an interesting line in THE MENU as he starts this film as a satire, moves it to a dark comedy fairly quickly and then moves it to a much darker place while still keeping the satiric and dark comedic tones as the more sinister things are happening. It’s a tightrope walk to be sure, and Mylod pulls it off.
It’s the type of film that will be difficult to find an audience for it is 2 types of films put together as one - and neither will totally satisfy hard-core fans - but for someone who is looking for an intelligent suspense film (with some gore and, again, let me emphasize that there IS gore) than this MENU will satisfy.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Me Before You (2016) in Movies
Sep 29, 2021
“You are scored on my heart Clark”
“Me Before You” is a bit of a queer fish of a movie. It never quite decides whether it wants to be a romantic weepy, a drama, or a rom-com and as such ends up rather falling between all three stools.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.
Emelia Clarke (“Game of Thrones”, “Terminator: Genesys”) plays Lou Clark, an ‘invisible’ girl “with potential” who is trapped – due to unemployment-led poverty – living with her parents in a provincial castle town (a picturesque Pembroke, though notably hardly a Welsh accent in earshot). Her boyfriend Patrick (“Harry Potter”’s Matthew Lewis) is a running nut that doesn’t play to her romantic needs in any way. Circumstance leads her into the job of a carer for a quadriplegic, Will Traynor (Sam Claflin, from “The Hunger Games” sequels) who also happens to be the son of the local millionaire couple (played by Charles Dance and Janet McTeer). They own the castle, a large mansion and most of the surrounding countryside too.
Will – previously a sports jock – is paralyzed from the neck down after an accident and is a frustrated and suicidal mind in a useless body. Can the quirky and vivacious Lou bring him out of his morbid shell and find him a life worth living again?
From this outline, you might think the story almost writes itself, and for most of the film it does. But the writers have a number of twists and turns in store which – depending on your sentiments – might entertain or appall.
As her first leading actress role in a non-action feature it’s a bit difficult to sum up Emilia Clarke’s performance. At face value it could be described as an advanced case of over-acting, with an extensive array of kooky looks and gurning facial expressions. (Those eyebrows! At some point we’re going to have to see her acting opposite Cara DeLevingne in a “Batman v Superman” eye-brow-off). On the other hand, she plays the part with such vivacity and charm – and notably in a manner so in keeping with the character she portrays – that it is hard not to be enchanted by her: I certainly was.
Claflin plays the brooding and resentful Traynor well and Matthew Lewis shows he is growing into a really professional jobbing actor as he enters his mid-20’s.
Also radiant (she always is… sorry to break it to the wife like this… but I am basically in love with her!!) is the ever-gorgeous Jenna Coleman (“Dr Who”, “Victoria”) in what is to date a rare outing for her onto the big screen (she previously has only had a small role in the first “Captain America” film: she really needs a breakout movie like Carey Mulligan’s “An Education”). Coleman and Clarke make a very credible pair of sisters, with the “bed” discussion scene being very touching.
Elsewhere a number of other well-known faces crop up including Brendan Coyle (“Downton Abbey”) as Lou’s father and Joanna Lumley as a wedding guest with a handy line in references.
The soundtrack by Craig (“Love Actually”) Armstrong is top notch with pleasing songs from Ed Sheeran, Imagine Dragons, Cloves and We The Kings.
The production quality is as professional as you would expect from a British-made movie, although the Mallorca and Paris locations are not particularly well exploited, since for a large chunk of these scenes I was convinced they hadn’t left Pinewood!
So, a bit of a mixed bag, but enjoyable nonetheless. A guilty pleasure. If you like a romantic piece of escapism this is one for a wet Sunday afternoon, provided you have a box of tissues handy.