#Ralph Foody
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"Keep the change, ya filthy animal!"
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#movie#film#movie quotes#movie quote#film quote#film quotes#quote#food#foodie#the menu#the menu movie#anya taylor joy#nicholas hoult#horror thriller#chef#ralph fiennes#yes chef#hong chau#celebrity chef
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Ralph Fiennes cooks up a storm in 'The Menu'
In the satirical thriller "The Menu," which is set in the realm of gourmet dining, Anya Taylor-Joy and Nicholas Hoult are served a dinner to die for.
Margot and Tyler, a young couple who are whisked away to a remote private island where the upscale dining establishment "Hawthorne" is located, are portrayed by the "Queen's Gambit" and "X-Men" actors. The island is home to numerous vegetable patches, farm animals, beehives, and live-in staff dormitories.
The two are among a limited group of 12 people who spent a significant sum to dine at the establishment owned by renowned American chef Julian Slowik (Ralph Fiennes).
Slowik and his crew of robot-like pros have secretly created a special lunch with some surprise components just for his wealthy guests. However, Margot's appearance seems to ruin Slowik's creation.
The wealthy guests, their ostentatious fine dining experience, and the celebrity chef phenomena are all made fun of in the film, which is why Slowik has become hopeless and disheartened.
"This story for me is about privilege for privileges' sake or pretentiousness for pretentiousness' sake," Taylor-Joy told Reuters at the film's London premiere on Wednesday.
"If you're not enjoying yourself and if you're not enjoying life, then what are you really doing? I think a lot of these characters are insatiable and it's definitely a dark satire on that topic."
To assure realism, the movie's director, Mark Mylod, of "Succession" and "Game of Thrones" fame, hired top chefs.
"We worked with Dominique Crenn, she has three Michelin stars and is literally a world-class chef...we worked with David Gelp, who was the creator of 'Chef's Table' and came in to do some great food porn shots for us," he said.
Some of the cast members were motivated to start cooking by Crenn and Gelp.
"I wasn't really a foodie before this. I got more into it having watched those things and learnt more about it. And when I'm not shooting, I do like to cook and I've just recently got into baking a little bit," said Hoult.
The movie "The Menu," which also stars John Leguizamo as a former Hollywood celebrity, Janet McTeer as a pretentious food reviewer, and Hong Chau as the restaurant's steadfast maître d', will be out in theatres worldwide starting November 17.
#ralph fiennes#films#film#movie#world premiere#themenu#trending#viral#repost#followback#like4like#instadaily#love#happy#food#foodie#michelinstar
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Movie theater is mostly empty. Perfect time to squeeze in a double feature which means I’m…
#NowWatching The Menu (2022) 🥘🍴💀
“𝙸 𝚗𝚎𝚎𝚍 𝚝𝚘 𝚔𝚗𝚘𝚠 𝚒𝚏 𝚢𝚘𝚞'𝚛𝚎 𝚠𝚒𝚝𝚑 𝚞𝚜 𝚘𝚛 𝚠𝚒𝚝𝚑 𝚝𝚑𝚎𝚖.”
#the menu#ralph fiennes#anya taylor joy#nicholas hoult#john leguizamo#foodie#horror#2022#comedy#hong chau#janet mcteer#judith light#paul adelstein#aimee carrero#Rob Yang#mark st cyr#arturo castro#mark mylod#movies#now watching#Spotify
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Ralph Foody on the set of “Angels With Filthy Souls,” the fictional gangster movie seen in Home Alone. circa 1990.
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THE TOP 10 BEST FILM OF 2022
HONOURABLE MENTIONS
GLASS ONION
Rian Johnson proves he’s still got the touch with another subversively comedic addition to the Knives Out franchise. He delivers the twisty mystery, unique characters, and witty dialogue we know and love from the predecessor. There are side splitting gags galore from the characterizations (Dave Bautista as an MRA influencer who still lives with his mom) and the dialogue (“Please tell me you don’t think sweatshops are where they make sweatpants”).
DECISION TO LEAVE
On the surface, Decision to Leave is a modern film noir about a kind detective who develops an infatuation with a femme fatale after her husband falls off the top of a mountain. But as you would expect from a Park Chan-Wook film, the film becomes something much more.
ALL QUIET ON THE WESTERN FRONT
Decades after the original best picture winning classic, Edgar Berge adapts Erich Maria Remarque’s classic anti-war story of a small group of eager young Germans who enthusiastically sign up to fight during WW1 only to be destroyed by the horrors of war. Many films show the devastation of war and its traumatic effects, but this film showcases the terror of being in the battlefields.
PUSS IN BOOTS: THE LAST WISH
Puss competes against a group of baddies to reach a wishing star in the sequel nobody asked for that ended up being way better than it had any right to be.
First, it uses Spider-Man: Into the Spider verse’s animation technique to create an animation style that resembles illustrations come to life and create some dazzling action scenes. It also gives Puss some unforgettable villains ranging from the hilariously sociopathic Big Jack Horner (John Mulaney) to Dreamwork’s most terrifying villain the Wolf (Wagner Moura). Finally, it gives Puss some depth as he is forced to confront his mortality and how his obsession with his legacy has kept him from forming meaningful connections.
TAR
Cate Blanchett gives one of the year’s best performances as a narcissistic and well-respected composer whose actions eventually comes back to haunt her.
THE TOP 10 LIST:
10) THE MENU
Satirical Comedy and unsettling horror make strange bedfellows in this unique tale of a Margot (Anya Taylor-Joy), an average woman who joins her foodie boyfriend (Nicholas Hoult) to an all exclusive dinner led by renowned chef Julian Slowick (Ralph Fiennes). What they don’t know is that Julian plans to deliver some just desserts for his latest customers.
The plot plays like a mystery. With each dish served, we try to guess what Slowick’s got planned for these elites. And Slowick’s motives grow more and more unsettling. It’s best to go in knowing as little of the movie as possible.
The actors are more than game for their respective performances. Fiennes is unsettling as a stern perfectionist who has a bone to pick with all of them. Taylor-Joy makes the perfect audience surrogate as she calls out the absurdity of the food arrangements. The rest of the cast play into the caricatures of their characters from Hong Chau as Slowick’s fanatical waitress to Janet McTeer as a pretentious critic. Hoult in particular relishes his role as a devoted know-it-all. Just the scene of him crying over tasting bread accompaniments without the bread is sure to bring a snicker.
This film ruthlessly mocks the elitist foodie culture. Most of the customers care more about the status than the meal, never just enjoying the dishes. With each dish, Slowick calls the customers out on their privileges.
Available on Disney+
9) THE BANSHEES OF INISHERIN
In a small village in WW1 era Ireland, Padraic Suilleabhain (Colin Farrell) and Colm Doherty (Brendan Gleeson) spend their days enjoying glasses of Guinness at the local pub. But then one day, Colm decides he doesn’t like Padraic anymore and cuts him out of life to focus on making music. But the daft and offended Padraic can’t seem to take a hint much to Colm’s annoyance and Padraic’s spitfire sister Siobhan (Kerry Condon) chagrin. The locals aren’t much help, with many prying to know more about this incoming feud..
After earning acclaim (and some awards) with his Hollywood features Seven Psychopaths and Three Billboards Outside Ebbing, Missouri, writer/director Martin McDonagh returns to his roots and reunites his In Bruges stars Farrell and Gleason. McDonagh brings his trademark dark comedy to a folksy environment from his biting dialogue (“If punching a policeman is a sin then we may as well pack up and go home”) and surprising violence.[1] It also fits into McDonagh’s reoccurring theme of men who are unable to handle emotional moments like mature adults. While it can be devastating for a friend to sever ties with you, but Padraic can be clingy. Colm isn’t helping matters by threatening self-mutilation. Farrell and Gleason’s performances prevent these two from being unbearable. Farrell stands out by bringing a childlike eagerness and naivety that makes Padraic likeable.
At the same time, McDonagh regards these characters with empathy. He shows as much understanding for Padraic’s gratefulness for his simple life as he does with Colm’s need to create a legacy through his music.
Also, McDonagh does an excellent job of creating a sense of environment with the village. There’s also a strong sense of community in this village, with everyone knowing each other. There is also a unique set of personalities in this village, from the eccentric old Mrs. McCormick (Sheila Flitton) to the timid Dominic Kearney (Barry Keoghan). This simple area feels like a warm and inviting home many would like to live in.
The Banshees of Inisherin is a dark delight.
8) THE BATMAN
Who would have thought that there’d be a Batman movie that could pull off the feel of a David Fincher film? But Matt Reeves (along with co-writer Peter Craig) surprises the world with DC’s answer to Se7en and Zodiac. He brings the world a young Batman (Robert Pattison) in his second year who attracts the attention of the Riddler (Paul Dano), whose killing off key political figures in Gotham City. As he tries to get to the bottom of the Riddler’s murders, Batman comes to realize how corrupt Gotham’s world truly is and is forced to confront the sins of his father.
After two dark and gritty reboots of Batman and a post-pandemic world, this version really needed to impress. And it didn’t disappoint. Reeves delivers refreshing takes on every aspect of the iconic franchise. Gotham City has never looked seedier than it does in this film, with endless rain, decaying infrastructure and array of street gangs. This Batman we get is a young man who has let his Batman persona consume his life to the point where he barely has anything to do with Bruce Wayne.[2] But the most surprising update is the complete reinvention of The Riddler. This villain goes from being one of most mocked of Batman’s rogue’s gallery to being a Zodiac-like menace who seems to be constantly 10 steps ahead of everyone[3].
All these characters work because of the performances. Pattison proves himself a worthy Batman whether he’s interrogating Oswald (Colin Farrell) or taking down an army of muggers. Paul Dano weaponizes his everyman looks to hide an intimidating and sociopathic genius behind the green mask and distorted vocals. Farrell goes beyond the heavy makeup to create a ruthless, fast-talking version of the Penguin. Zoe Kravitz’ performance is probably the most comic accurate portrayal of Catwoman, especially when it comes to her dynamic with Batman. That’s not even getting into how Jeffrey Wright and Andy Serkis perfectly capturing the essences of Jim Gordon and Alfred respectively.
There’s also way more focus on the Detective aspect of Batman than in most versions. While we do see him in some kickass action scenes, for the most part, we see the World’s Greatest Detective use his sleuthing skills to solve the Riddler’s twisted riddles and investigate crime scenes. This brings more focus on the intrigue of the mystery.
And that score. That glorious musical score. Michael Giacchino delivers an epic, booming score worthy of joining the batman scores provided by Danny Elfman and Hans Zimmer.
It’s not a perfect movie. The biggest problem is the running time, which can lead to some dragging scenes that will be too much for some audiences. But the strengths of the film make up for these flaws. Here’s hoping Reeves keeps this up for the inevitable sequel.
Available on Crave
7) BOILING POINT
Writer/Director Philip Barantini seems to have taken a lesson from Uncut Gems on how to make a film feel like a relentless panic attack when he made Boiling Point; a tense drama about a stressed-out head chef (Stephen Graham) trying to get through the busiest night of the year.
Barantini and cinematographer Matthew Lewis make the risky move of shooting the whole film in a single take. It is easy for this to become gimmicky, but they use it effectively to emphasize how stressful it is to work in a restaurant. As the camera moves across the kitchen and into the dining area, it’s clear there’s no escape from the stress not even when head chef Andy Jones heads to his office to try and catch his breath. The rumbling of the kitchen as Andy sits alone in his desk makes it clear he has nowhere to hide.
Barantini also keeps the stress going by surrounding the environment with multiple clashes. The dishwasher’s upset that her replacement is hours late. The sous chefs and head waiter are at each other’s throats. Andy’s co-owner has invited a critic to dine with him. Barantini does an excellent job of balancing the multiple storylines within the short 92-minute screen time. He even manages to create some satisfying set ups and payoffs. One perfect example is a reoccurring arc with one chef whose constantly being told to roll up his sleeve. The revelation behind this arc with stay with you.
Boiling Point has a phenomenal cast who all deliver compelling performances as they scream over each other trying to get their point across. Usually typecast as the villain, Graham delivers his best performance as a man trying to keep it together while his life is going down the tubes. He makes you feel his hopelessness and overwhelming strain as he downs bottles of whisky, trying to get through the day. Even at his most self-destructive moments, you feel for him.
The result is a drama that does a better job of keeping the audience at the edge of their seat than most thrillers wished they could.
6) RRR
With the growing interest in Tollywood films, RRR makes the perfect gateway drug. Rarely in recent years has there been an action film so unapologetically epic as RRR, which has broken into the mainstream.
As with many Tollywood action films, Director S.S. Rajamouli, co-writers Vijayendra Prasad and Sai Madhave Burra along with the cast and crew take every element of the epic action flick and turn them all up to eleven. In a time when there is a call for more flawed, relatable protagonists in movies, RRR gives us a duel of superhuman action heroes performing impossible feats of agility. The opening scenes alone have rebel leader Komaram Bheem (NT Rama Rao Jr) chasing a wolf and a tiger and misguided soldier Alluri Sitarama Raju (Ram Charan Teja) leaping over a fence and fighting a whole crowd to capture one suspect. Let’s see the Fast and Furious franchise have its heroes leap over a bridge on a motorcycle or a horse and swing on a rope carrying the Indian flag to rescue a boy from a fire.
While there is a pressure for films to keep any messages nuanced and subtle, RRR serves as a three hour middle finger to the British Empire. That empire is embodied by the mustache twirling Scott and Catherine Buxton (Ray Stevenson and Alison Doody) who literally kidnap a little girl and kill the mother in the first scene. There would have been a danger of the villains being cringe, but Stevenson and Doody savour their villainy like a classic Disney villain. Even they get in on the over the top violence, with Mr. Buxton firing a machine gun while flying out a crashing car. It makes their downfall more satisfying.
If that isn’t enough, RRR also has musical numbers as epic as the action scenes. They manage to appear in the unlikeliest of moments like a motorcycle/horse race and one character being tortured with a whip. Most notable standout is a dance off between the heroes and one snobby British soldier.
But at its core, RRR is a story about a friendship between two men who don’t realize that one’s supposed to arrest the other and a tale about a tribal leader on a mission to rescue a little girl from rich captors. The fact this film makes us care about story and keep the audience hooked over its long screentime shows the power of this epic.
Available on Netflix
5) THE NORTHMAN
After taking the horror genre by storm with The Witch and The Lighthouse, writer/director Robert Eggers gives us something completely different with The Northman. In contrast to his previous low budget A24 arthouse horror flicks, Egger’s latest is a big budget epic historical action flick. It may be his most accessible film, but that doesn’t stop him from bringing his boundary pushing style into this film.
The Northman is Hamlet-like revenge tale of Almeth (Alexander Skarsgaard), a Viking prince who seeks vengeance on his uncle Fjolnier (Claes Bang) who kills his father King Aurvandil (Ethan Hawke) and marries his mother Queen Gudrun (Nicole Kidman). After years in exile, Prince Amleth disguises himself as a slave and enlists the help of an enchantress (Anya Taylor-Joy) to bring down the King Fjolnier the Brotherless.
Eggers brings a refreshing take on the Viking historical drama with his trademark style. Like his previous films, Eggers (along with his co-worker Sjon) goes out of his way to make his stories as historically accurate as possible. As a result, we get the ugliest side of the Viking life. The images of people in chains makes it clear that Amleth’s family owns slaves. When Amleth’s in exile, he joins a group of Vikings in pillaging and terrorizing innocent people. In one horrifying scene, those Vikings trap women and children in a cottage and burn it down. Keep in mind that the protagonist watches this happen.
What’s strange is that Eggers also includes fantastical moments that draws from Norse Mythology. The result is otherworldly imagery of Amleth meeting with the Seeress (Bjork). It doesn’t seem like this should work, but somehow these elements make strange bedfellows.
Unlike his previous films, Eggars doesn’t go for historically accuracy with the dialogue. As a result, the audience has a better grasp of what the characters are saying. The dialogue is still kind of Shakespearean but just enough to the characters are still easy to understand.
Of course, the action scenes are awesome with the blood and dismemberment you expect from an R-rated movie with Vikings. It leads to a most metal ending with Amleth and his uncle going head-to-head in a volcano in their birthday suits.
With this film bombing at the box office, it’s doubtful Eggers will ever have the means to make a film as epic as this one.
Available on Crave
4) GUILLERMO DEL TORO’S PINOCCHIO
2022 was the strange year where we got three Pinocchio movies in a row. After listening to Pauly Shore butcher lines and Disney butcher their original classic, most moviegoers knew Guillermo Del Toro’s stop motion version would be the best one by default. But even without the other two films, there would still be major anticipation for Del Toro’s first animated feature film. With his trademark fleshed out mythology, creative character designs and compelling storytelling, many expected him to perfectly capture the macabre tone of Carlo Collodi’s tale. What we got is a refreshing take on the classic take on the wooden boy who longs to be a real boy.
Del Toro (alongside codirector Mark Gustafson and co-writers Patrick McHale and Matthew Robbins) perfectly balances capturing the story’s dark tone and core storyline while changing many elements of the story. This Pinocchio (Gregory Mann) is a lot closer to the disobedient troublemaker of the original story than Disney’s sweet but gullible character. Like Collodi’s tale, this story has our hero causing grief for his creator/father Geppetto (David Bradley), being led astray by crooks and trouble making teens only to suffer the repercussions before the climax of trying to escape from inside the whale. It even includes both the Christian undertones of the original story and even its dark comedy (among them a reoccurring gag of Sebastian the Cricket (Ewan McGregor) constantly being squashed.) It also borrows a bit from the Disney version with the Blue Fairy (Tilda Swinton) bringing the puppet to life and the cricket trying to guide him.
But this film also makes a lot of changes from the original story. First, Del Toro sets the film in Italy during Mussolini’s reign. Not only does this fit into Del Toro’s reoccurring theme of life under fascism, but it brings nuance to the original story’s message of obeying your parents. While the film does have Pinocchio deal with consequences for misbehaving, the film also shows the dangers of blinding obeying those in power and makes the case that disobedience is necessary when it involves doing the right thing. The film also fleshes out the characters to bring complexity. While Pinocchio is still a disobedient troublemaker, he also has his heart in the right place and will stick up for others. Geppetto is a broken man grieving the loss of his dead son Carlo (also Mann). Sebastian is a wannabe writer who makes his home in Pinocchio’s chest. Del Toro also brings in an array of unique characters from ruthless ringmaster Count Volpe (Christoph Walz) to terrifying fascist enforcer Podesta (Ron Pearlman). All the actors do excellent jobs of making their characters engaging, especially Mann.
Co-Director Mark Gustafson perfectly brings Del Toro’s trademark style into the animation world, resulting in some unique visuals. Pinocchio has never looked more wooden with spiky wooden hair, tiny black dotted eyes, and multiple nails in his back. The Blue fairy aka the wood sprite (also Swinton) is this otherworldly blend of Hari Krishna and a mermaid. Death is this sphinxlike creature in a world of blue sand. What’s most notable is how the settings and character design resemble classic storybook illustrations come to life.
The film is also a musical, with songs created by composer Alexandre Desplat alongside Del Toro and lyricist Roeban Katz. The old timey style perfectly serves to further the narrative and reveal more about the characters, but they don’t stand out the way Encanto’s songs did. The one exception is “Ciao Papa.” When Pinocchio pours his heart out to his long distant father, you can feel that longing so much it may bring you to tears.
No wonder many see this as the front runner for the Best Animated Feature Oscar.
Available on Netflix
3) AFTERSUN
Most filmmakers try to make their films memorable. Aftersun is a rare film that feels like a memory.
On the surface, it’s a simple story of a single Dad (Paul Mescal) and his daughter (Frankie Corio) taking a trip to a Turkish beachside resort. There is no real plot. No central conflict. It’s just segments of a father and daughter on vacation. At least, that’s what it seems like at first. Hidden in plain sight are signs of the father hiding some personal pain from his daughter.
In her debut feature, writer/director Charlotte Wells takes us into segments of this vacation, even replaying some moments on camcorder. The result is a film that feels like we’re entering the daughter’s memories as she tries to understand her father.
The strength of Wells’ filmmaking is how she avoids the temptation to dramatize any element of the plot in favour of making it as naturalistic as possible. Never does she make it clear what the dad’s going through. You only get the most subtle of hints. She only applies any artistry with the ending that will stay in your mind long after the credits roll.
That’s helped by the performances by the two leads. Mescal and Corio bounce off each other perfectly, making us believe they are an actual family. They both also maintain low key naturalization throughout the film.
Put all these together and you get an unassuming drama that stays with you long after the credits roll.
2) (TIE) BEFORE I CHANGE MY MIND, GOLDEN DELICIOUS AND YOU WILL LIVE FOREVER
I admit that I have a habit of putting ties in my lists, not helped by me including a three-way tie in this one. But these 3 films have so much in common that I felt they deserve to be put together. Well, that and these are probably the least known films on this list, and I feel they deserve more attention.
All three are Canadian films centered on LBGT teens who move into new locations, which leads to developing deep relationships. They’re similar yet different. The most important commonality are the compelling stories of relatable, flawed young people trying to fit into their world and figure out what they really want in life in the process.
First, we have Before I Change My Mind. Set in 1987, the movie centres on Robin (Vaughn Murrae), a non-binary preteen who moves to a small Albertan town from the US with their father (Matthew Rankin). There are of course questions from the students what Robin’s gender is. To fit in, Robin tries to befriend the school bully Carter (Dominic Lippa). On one hand, it makes it easier for Robin to form friends. On the other, it leads to Robin making misguided decisions.
Director Trevor Anderson and co-writer Fish Griwkowsky capture the everyday life of preteens as they make snide comments during music class, pick fights with each other and just hanging around in the living room. What makes this film special is how it captures the difficulties of being a preteen. Robin and their classmates try their best to fit in with their peers. Sometimes it can be found in healthy activities like hanging around in the mall. Other times it comes from misguided decisions including sneaking into their parents alcohol or in one student’s case, completely changing his personality after being bullied.
The film also captures the frustration of dealing with emerging emotions you have no understanding of and now healthy means of channeling them. That’s especially true with Robin who has no idea of their own gender identity since non-binary wasn’t a common term in the 80s. As a result, they become targets for fellow classmates who keep demanding to know if they are a boy or a girl.. Being non-binary themselves, Murrae makes the audience feel how lost Robin feels. Anderson and Griwkowsky do an excellent job of using subtext to capture this feeling. And they never offer any easy answers.
There are also some funny moments in the film. When gym class separates the boys and girls, Robin sits in the middle. Robin and Carter try to convince a drag queen (dressed like Madonna) to buy them beers. But the comedic high point is the school’s disastrous rock musical rip-off of Jesus Christ Superstar.
Next, we have Golden Delicious. Jake (Cardi Wong) seemed to be living the perfect teen life as a basketball player whose relationship with his girlfriend Valerie (Parmiss Sehat) is popular on social media. But he finds his life turned upside down when new student Aleks (Chris Carson) moves next door. As Jake and Aleks both train for the basketball team, Jake is forced to confront the pressure his father George (Ryan Mah) places on him.
Director Jason Karman (through Gorrman Lee’s screenplay) channels his youth to capture the pressure of having to live up to expectations. Jake tries his best to please his father, despite not being the best skilled in the team. Georges’s pressure is embodied by the old, decaying basketball hoop he forces Jake to practice on. Through Aleks, Jake’s confronted with the fact that he has never learned to live for himself.
Lee also fleshes out Jake’s family, who is dealing with their own pressure. George and his wife Andrea (Leeah Wong) are trying to keep their Chinese restaurant afloat, but the stress of running the restaurant has taken its toll on Andrea. When their daughter Janet (Claudia Kai) discusses her interest in being a chef, Andrea tries to forbid her. Janet has her own arc where Janet tries to create her late grandma’s dishes. This family feels so achingly human and relatable.
Of course, there’s excellent chemistry between Wong and Carson as their characters build from a friendship into a relationship.
And finally, we have You Can Live Forever. Rebellious teen Jaime (Anwen O’Driscoll) is forced to live with her aunt Beth (Liane Balaban) while her mother recollects herself after her husband’s death. Beth is a Jehovah’s Witness whose husband Francois (Antoine Yared) hopes to be the leader of his congregation. While being forced to attend sermons, Jaime develops a friendship with fellow devout Marike (June Laporte). Soon that develops into something more, which is risky in a homophobic fringe community.
A romantic film like these lives and dies on the chemistry between the leads. When two leads have such differing personalities/worldviews, it’s very important that the two leads have convincing chemistry for the relationship to make sense. O’Driscoll and Laporte pull that off beautifully, conveying a warm intimacy between Jaime and Marike as they hide in plain sight with little intimate gestures. It helps that both actresses make their characters feel like real people. O’Driscoll portrays Jaime as a typical teen whose big glasses and grunge wardrobe hides a slightly rebellious teen frustrated at being stuck in a situation outside of her control. Laporte makes Marike a timid girl devoted to her religion yet forms an infatuation with Jaime. Writer/Directors Mark Slutsky and Sarah Watts avoid the temptation of melodrama in favour of grounded empathy. They allow us to understand what Marike finds in her faith while showing how it can be stifling for Jaime.
All three deliver achingly human stories of young people trying to find what they truly want in life.
1) EVERYTHING, EVERYWHERE ALL AT ONCE
In a time when franchises consume movie theatres, Everything, Everywhere All at Once came out of nowhere to deliver an everything bagel the zeitgeist can sink its teeth into.
Evelyn (Michelle Yeoh) finds herself dissatisfied with her life as a struggling Laundromat owner, further aggravated by her goofball husband Waymond (Ke Huy Quan), her contentious relationship with her daughter Joy (Stephanie Hsu) and her overly critical father (James Hong). If that wasn’t bad enough, she’s being audited by the IRS, forcing her to deal with an austere IRS agent (Jamie Lee Curtis). Suddenly, Evelyn finds Waymond possessed by an alternate version of himself and Evelyn’s tasked with saving multiple universes from the mysterious and all powerful villain known as Jobu.
The Dynamic Duo of Daniel Kwan and Daniel Scheinert already proved their originality with their music video Turn Down for What and their feature film debut Swiss Army Man. Who would have thought they could create an existential tale of a mother daughter relationship involving googly eyes, hot dog fingers and a ratatouille parody?
As you expect from the Daniel’s previous works, it delivers on the weird and hilarious imagery (often involving leud objects). One minute, Waymond is gluing googly eyes on everything, and the next he’s taking down security guards with a fanny pack. That’s just one of many examples of the creative and well-choreographed fights scenes the Daniel’s have in store for the viewers. Only they could image fight scenes either involving Waymond intentionally giving himself paper cuts or henchmen trying to shove a trophy up where the sun don’t shine.
With moments like these, you would never expect anything profound in the film. And yet, the Daniels somehow balances these silly moments with deep, philosophical themes. Evelyn comes to realize how the little choices she made in life can have major outcomes after glimpsing versions of herself as a famous actress, a kung fu artist and a chef. Her journey also forces her to reexamine her perceptions of her husband and reconcile her relationship with her daughter. The battle between Evelyn and Jobu shows how perception can alter how one handles the meaningless of life. It’s surprising how deep this film can get.
The result is a cinematic miracle that delivers a truly unique experience.
Available on Prime Video
[1] When Colm threatens to cut off his fingers if Padraic talks to him again, you know a finger’s going to come off at some point.
[2] So consumed that he only has around 3-4 scenes as Bruce Wayne. It’s funny. In his Godzilla reboot, he barely showed the iconic monster on screen. For The Batman, we get all the caped crusader we could ever want.
[3][3] He also seems to be doing a better job of getting rid of corruption than Batman is.
#top 10 films of 2022#random richards#everything everywhere all at once#before I change my mind#;Golden delicious#you can live forever#aftersun#pinocchio#Guillermo Del Toro#the northman#rrr fanfic#rise roar revolt#boiling point#the batman#the banshees of inisherin#the menu#tar#puss in boots#the last wish#all quiet on the western front#decision to leave#glass onion#a knives out mystery#knives out#movie review#review#daniel kwan#daniel scheinert#michelle yeoh#Trevor Anderson
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#home alone#Angels with Filthy Souls#Johnny#quotes#text#quote#90's#90s#1990#b&w#gangsters#gangster#Ralph Foody
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#Home Alone 2 Lost in New York#Home Alone 2#Angels with Even Filthier Souls#Ralph Foody#Chris Columbus#John Hughes#90s
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2023 Movie Journey #8: The Menu
the menu. i’m glad i decided to watch this one. it wasn’t originally on my list, because i only knew ralph fiennes was in it and it’s about food--neither of those are specific draws for me. i had heard it involves class issues, it was being compared to glass onion in headlines i skimmed, so i wasn’t totally opposed to it, i just wasn’t sure either way. but then i saw john leguizamo talk about his role in an interview, and i hadn’t realized he was part of it; that made me reconsider. and then my favorite movie podcast put out an episode where they discussed m3gan--which i am desperate to get someone else’s opinion on since i saw it alone--BUT the episode also includes discussion of the menu. so i figured if i was ever planning on watching the menu, i had better do so soon, and then i’d be able to enjoy that podcast double-feature. (which now i can, yay!)
but my impression of this movie was definitely wrong, i’ll start by saying. i didn’t know it was really a horror movie--i knew there was some violence or gore, but i honestly thought for some reason that it was a movie about cannibalism, where the menu involved killing and cooking the customers. i have no idea where i got that idea, since it is not true. so now i’ve already watched more horror movies this year than i have in the last several combined, even if this one was by accident. and since i’m about to watch scream 5 (because i never did when it came out) in order to decide if i want to see scream 6 in the theater, i’m starting to reacclimate to horror and that’s a surprisingly nice feeling. in real life, i prefer to avoid violence always...but i’m okay with being desensitized to it in media because i don’t get to choose which stories include violence (so many!) and those stories can hold a lot of value for me otherwise.
anyhow, this movie really was good, and i’m not sure i have too much to say beyond that--the cast is great, from personal faves like judith light and nicholas hoult to reliable talents like ralph fiennes and anna taylor-joy. i didn’t realize before watching this that ralph fiennes is a jkr defender, so obviously that sucks, but he was hitting all the necessary levels in this--terrifying, sad, obsessive. and anna taylor-joy was another actor i didn’t even know was in this, which is pretty funny since she’s the real star. she makes an excellent final girl and as somebody who couldn’t get through the queen’s gambit i am thrilled to now know more of her work. i adore her thanks to this movie alone.
i did engage my newly-implemented horror rule of looking away when i need to--there are multiple suicides in this, for example, but most of the deaths were telegraphed well in advance so i didn’t have to see them. and because of my relationship to food, tbh there were some times when i looked away that didn’t involve any violence at all. this movie is simultaneously a love letter to food and a takedown of foodie culture, as much as it’s a takedown of wealthy restaurant customers and the way that restaurant culture destroys the workers that pour their lives into crafting food. because i’m so detached from food, i mostly enjoyed it as a well-told story rather than relating to any of it.
i will add though that this is a fucking weird movie. that was my first immediate impression as i was watching it, so i shouldn’t just say i liked it without adding that. it is incredibly dark and twisted. but it so clearly knows what it wants to be doing that i was happily along for the ride. there’s something really enjoyable--at least for me--about a movie that’s completely committed to its premise, no matter how intense or specific (or bizarre) it may be.
oh, also i liked the soundtrack to this one a lot. it wasn’t exactly all that special, more of the ‘classical with a modern twist’ that i love whenever i encounter it...but it made it fun for me to let the credits play to the end, because i enjoy that style of music all the time.
in conclusion, i would recommend this one if you like the cast, are interested in commentary on fine dining and the people that create it, or enjoy modern horror movies (especially ones that justify murdering the wealthy). i liked it a lot more than i thought i would.
#the menu#2023 movie journey#anna taylor joy#nicholas hoult#ralph fiennes#john leguizamo#judith light
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A last few thoughts on our trip to California.
Southwest Airlines provided flawless service for our four flights. After reading many accounts of poor behavior, mostly by fliers but also airline personnel, I was pleased to witness nothing but courteous service by staff and kind behavior by fellow passengers. The flight attendants were especially welcoming and in good humor. All flights were on time and I got exit row seats for every leg...lol.
California dreaming is something I totally get, even after being there for only a week. To my surprise, D wasn't as enamored with it as I was. It was serendipitous we and Hurricane Hillary coincided there as the temps we experienced in SoCal were cooler than normal. For us, it brought one evening of steady rain and...said lower temps. I found Rancho Cucamonga (delightfully cooky name) to be lovely.
We had a day at Venice Beach, also lovely. There we witnessed more illegal drug use in a few hours than we'd normally see in a year. Still, there was nothing menacing about it. The human condition in the best of settings I suppose. I had the muscles at the Ale House there and they were not good. Lol the bread was fantastic though and the broth was tasty. An hour later I was drinking at the famous Firestone Walker Brewery and everything was fine.
After, we experienced an hour and a half of the storied LA traffic to get to Macleod Ale Brewing in Highland Park. With 4 cask conditioned ales on it was OUTSTANDING! I yearn for it now.
Throughout I was constantly in wonder at the sublime flora of SoCal. The trees and flowers were strange and precisely exquisite. Most everyone I encountered was friendly...except the woman overseeing the self-checkout at Ralph's. Truely she was New York nasty! Lol
The food?...was fine. Our trip wasn't aimed to be a foodie endeavor. I twice had interesting Mexican food but nothing remarkable. Had a good tri-tip sandwich heaped with tender slices of steak, chilli relleno, tacos del buche, regretable mussels, and sundry other tacos. One tasty burger and perfect onion rings at the side of a picturesque river but we never got to In-N-Out or any other fast food restaurant.
I found amazing sour beer and drank a bunch of West Coast IPA's. Oddly, I drank the east coast's most famous IPA, "Heady Topper" for the first time as well. Before traveling to California, I was talking to a bartender in Louisville, who was from the west coast, and she said west coast IPAs tasted different on the west coast. I asked why she thought that might be and she said it was likely the water. I drank at least 10 different west coast IPAs on my visit and I think they tasted like they taste everywhere else -anyway.
The night before Sequoia, we rented a home at the town of Three Rivers (Rosie called it our mountain house) near the southern entry to Sequoia National Park and TBH I think the views and surroundings there were my favorite of the whole trip. I wish we'd booked more time there.
The best constant of our trip was our granddaughter. She is very bright, funny, and more than a little head strong. I'm glad she is experiencing SoCal and can't wait until she's back here.
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Zal, how’s your dayyyy? Did you ever get to watch the menu?
So, I watched it. I don't really feel much about it. I don't dislike it or particularly like it either, it held my attention while I watched it but I won't be thinking about it later unless we continue to have a dialogue about it, which I'm open to.
I preferred it to The Glass Onion but it gave me those vibes.
I did laugh here and there like at the "Did he just quote Martin Luther King Jr.?" "He did, yeah." And everyone paying for their meal at the end or also killing the assistant because she went to Brown and has no debt. I also thought the sense of unease throughout the movie was done well and I thought the acting was done well enough, Elsa was definitely the star of the movie, Hong Chau stole the show 100%.
I remember seeing so many articles about Anya Taylor talking about female rage and how male directors/writers will have their female characters sit stoically and shed the one tear and she pushed for her character to just be enraged and hit Tyler but when I watched it, I was quite underwhelmed with what that scene ended up being because it was still pretty contained and calm.
The movie certainly got their archetypes right, the tech bros who just went to say they went, Tyler's pretentiousness -- I've heard many a Tyler in restaurants -- as well as the food critic's even the staff and the intensity of the chef but I was kind of waiting for ... more? Like the reviews were all like it's deliciously mean but I didn't really find it to have the charm or glee I would expect from writers who have done a few episodes of Succession. I do have to say that I appreciated the commitment to playing everything straight like, Ralph Fiennes and Nicholas Hoult have some of the most bizarre and ridiculous dialogue and they played it completely straight.
Like, we of course touch upon the power dynamics between service industry workers and specifically wealthy customers -- Tyler doesn't ask for the chef's name, the older wealthy couple can't remember the last meal they ate at the restaurant, the tech bros walk in like they own the place but I thought they were going to dig into that a little bit more. Or even the messaging that the more wealth and success you come across, the more elite you become, the less joy you'll find in your art kind of just made me go well ... yes.
amirite?
I did laugh at the irony of my viewing experience because of Tyler and how they poked fun at him being a foodie by having him actually cook because that can relate to any type of spectator, right, it can relate to me having my criticisms of TV or movies and then a director handing me the mantle and being like go for it, let's see what you'll do, although I found him being the one to cook a meal for everyone to be an interesting choice because it would've been more fitting for the critic to be the one to do that considering that her job is to critique food and a lot of what she says is bullshit.
So, yeah, it was a good time I'm glad I watched it but I'm not gushing.
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The Menu - Thoughts
My father used to be a Real Estate Appraiser for most of his career, first on the private sector and then for Montreal's City Hall. It's the kind of job that doesn't come with a lot of perks, except for an office-paid Expenses account that allows for small displays of largesse, mostly to flatter a client's ego or appease someone else's doubts. Repeated exposures would sometimes result in small, more personal perks; like getting to know someplace's sous-chef by their first name, cracking jokes in out-of-office settings and eventually scoring the occasional token of friendship. Say a pass at an exceedingly ritzy table, the kind where everything is deconstructed, remixed, replated, revised and reviewed, and a table for three with four courses each goes for well over a few thousand bucks. Normally.
I say normally, because I grew up with the sous-chef's daughter, skinned my knees on the same rough concrete stairs in Montreal. She was my friend for a long time. We shared toys, hobbies, game consoles - and the occasional table.
Twice in all my life, I was given a rare gift.
Take what I've just described, convince yourself that you'll never taste it, see it for yourself, spend years thinking that food's just something you use to either find comfort or fuel yourself - and then get invited at that kind of table.
Not because you've got the cash for it, not because you're their usual clientèle, far from it - but because you're a friend.
The one course that's etched into my brain is a kind of phyllo pastry, but lighter and bigger than your usual stuff - like a blown-out and refined spanakopita, except it's not just feta cheese and spinach. Oh, no. It's organic goat cheese fresh from this morning, with a drizzle of sorrel sauce. The plate is eons above your pay grade and at the time, if you're me, you're still a teen eking out a living with some volunteer work that occasionally translates to a paycheck. A few hundred words here and there and bam - the big finish. Three hundred bucks richer.
That plate was something I could've never afforded, something I was never so much as born to eat. But there it is. Sorrel sauce and goat cheese, with puff pastry's snootier cousin crackling between my teeth, ever-so-sweet.
What tasted the best in it was the friendship I could sense. The exclusivity of the moment. I'd earned my way to this dish for free with years of bad barbecues, of letting Jenny win at Mario Kart, of helping her out with French while she tortured multiplication tables out of me. This was something some bougie asshat would've paid for with a Platinum Amex; and it was something I'd paid for in time. In patience. In kindness. In realizing that food, sometimes, is a gift. When that gift is given freely, it tastes all the better.
The Menu, directed by Mark Mylod, is what you'd get if some of the chefs I ended up getting to know could speak freely, sometimes, or what you'd get if Ratatouille's Anton Ego had been an ass and had driven Remy the Rat to nadirs of obsession. We follow one Margot Mills (Anya Taylor-Joy) as she seemingly serves as the accompaniment to foodie Tyler (Nicholas Hoult) during an evening at Hawthorne's.
What is Hawthorne's, you might ask? It's the isolated island restaurant helmed by the ultra-perfectionist Julian Slowik, played by Ralph Fiennes. Forget your usual celebrity chefs, Slowik is someone that's talked about but rarely seen, the exclusive priest of Epicurus to an even more exclusive table - the kind of place that invites you by text, instead of waiting for you to place a reservation. Apparently, it's a bit like a geisha house: if you know someone who knows someone, you have a chance to get in. This fosters a very small black book's worth of clients - and obviously limits it to the ultra-wealthy or to those with a desperate need of being seen.
As you'd expect of a horror-comedy with a very serrated edge, there's plenty of odd shit right off the bat and the menu only gets spicier once Slowik introduces one of the courses, titled The Mess, by asking of one of his maîtres de partie that they shoot themselves in the mouth in full view of the paying customers.
You laugh because everyone plays it off, predictably. They all think it's part of some sort of act - Murder Mystery on the house, except the victim is the culprit and everyone knows about it - but then the staff makes it clear that everyone is going to die, tonight.
Diners and staff included.
As this is The Menu, a tale of bloody vengeance on a Molecular Cuisine-sourced mix of absolutely luscious Food Porn, served as cold as biting cynicism demands.
A few courses in, I'm reminded of Peter Greenaway's The Cook, the Thief, His Wife and her Lover, its similar piles of food and the way the lavishness of the setting reflects the odiousness of those involved. There's no gangster styling themselves as a gourmand in sight, though, no Albert Spica expies to torture. Instead, each table gets its own just desserts, pun intended, and the wider assembly gets a few darkly-amusing digs at the cruelty of the fine dining experience in its own right.
The amuse-bouche, for instance, is a plate of oils and infused creams, obviously intended to serve as dippings or garnishings for bread - but no bread is ever provided. Instead, the guests have access to a little paper in the same plate, on which is stated that the bread they will not be eating will be sourced from and served to a struggling community's food bank. We never see the more deserving bread-havers, but just knowing that somewhere out there is someone who might be having the best baguette of their lives while these caricatures of Upper Crust asshats have to dab little wood spoons in tarragon oil and pretend to like it is brilliant.
Suffice it to say, things go progressively to thematically-appropriate levels of shit and the movie delights in torturing everyone between has-been movie stars begging for scraps to Wall Street finance bros glad-handing one another for "crushing it at work" while their personal lives implode. It's gleeful like I haven't seen a horror movie be in several years, and extremely self-aware in its own tone, like an actor who's told to act all snooty and snobbish but who then lets it slip that they're entirely aware of the clownishness of it all.
A few tropes are on offer, I won't say which ones, and their placement is predictable, but the pacing is perfect. You see everything coming a mile a minute, but this is Grand Guignol-grade, in the sense that you'll delight in seeing it all coming. Unlike the chefs featured, who give their lives to Art in the very literal sense, the movie very clearly has fun in setting up its own stakes, in deconstructing its own recipe and serving you a final payoff that, like its two last dishes, are the epitome of comfort foods.
Suffice it to say, Walter loved The Menu and is now combing the Web for an exact listing of the dishes created, associated recipes - and if it's possible to whip up variations on them on a tighter budget.
I mean, all three of us are foodies, sure, but pine nuts are beyond prohibitive and truffle oil is better off being seen as something you make last over several years, like that one perfume bottle you splurged on six years ago and that your S.O. insists on using sparingly.
Unless you're rich, that is, in which case you can probably bathe in the stuff if you'd care - but you know what we say about the rich while at the table, right? Wink-wink and whatnot...
#review#the menu#ralph fiennes#anya taylor-joy#nicholas hoult#the cook the thief his wife and her lover#peter greenaway#albert spica#movie#thoughts
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Amoria Dovah, the Dragonologist
“I’m like the crazy old lady with a lot of cats, but instead of cats, it’s dragons!”
Basic Information
Identifying Gender/Species: Cisgender Human Female, she/her pronouns.
Birthdate: Unknown Month/Date, 1874
Blood Status: Pureblood
Wand: Classic design, Grey-Brown color. Acacia wood, dragon heartstring core, 13”, rigid flexibility.
Pets?: Barn owl named Orion.
Appearance
Height and Body Type: 5’8, she’s a tall girl! Hourglass figure body type.
Hair: Long white hair, pure like a blanket of snow.
Eyes: Deep purple eyes, like a bubbling potion.
Scars and Other Marks: Some scars, where they came from are not important. Some beauty marks on her chin and collarbone.
Clothing: The usual Slytherin uniform, with respect to the weather. Likes to shed everything down to the buttonup and roll up her sleeves often, though.
Personality
Super curious and adventerous!
Loves to sketch and sing.
A huge nerd. Will read everything in sight.
A foodie and loves to cook!
Also loves to take care of her hair. Her hair is her pride and joy. <3
Home Life
Birthplace: Unknown.
Birth Parents: Unknown.
Adopted?: Yes!
Adoptive Parents: Hugh and Freya Fawkes
Siblings?: (All Adoptive!) Two older brothers; Travis Fawkes and Liam Fawkes. Two younger sisters; Elena Fawkes. One younger brother; Ralph “Ralphie” Fawkes. Since Amoria’s true birthday is unknown, she shares her birthday with Scarlet Fawkes, and the two jokingly call themselves the Fawkes twins.
Other Guardian Figures: Only the orphanage ladies up until she’s adopted by the Fawkes.
Places of Residence: Unknown up until she’s abandoned at the orphanage. Stays at the orphanage until she’s 11, which she gets a letter to Hogwarts and finds her home there. She still returns to the orphanage over the summers, but in the summer just after her 4th year, she gets news that she’s been adopted… by the Fawkes family! She joins them that summer, and has a home with them for as long as she’d like.
Hogwarts Life
House: Slytherin
Quidditch?: Nope.
Clubs: Tommy’s Game Club, Crossed Wands, Hogwarts Herald Newspaper
Other Activites: Loves hanging out with friends in Hogsmeade, sometimes joins Phil when he goes on adventures, and keeps up in her studies well.
Romance?: Has a couple crushes, and loves to experiment. Isn’t entirely looking for anything serious, but most certainly won’t mind. All in all, she just goes with the flow— if it feels right, it feels right.
Patronus: To be learned.
Animagus: To be learned.
Boggart: To be learned.
Amortentia: To be learned.
Trivia
Her name means “To be a descendant of dragons.”
Her magic is a deep purple color.
She knows her surname is Dovah because she was left with the family crest on her chest when she was abandoned.
#hogwarts legacy#hl oc#fanfic#hogwarts#amoria dovah#scarletravenlegacy#scarlet fawkes#thomas dharby#lucan brattleby#peter green#phillip hans
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Gin and Talking Pictures | The Menu (2022)
What a fun and clever film.
It feels a little strange doing a review about a film where a reviewer gets their comeuppance (among some other not so nice people), but here we are.
The cast clearly enjoyed what they were making, and this film has quite the star studded line up. It was great to see Anya Taylor-Joy and Nicholas Hoult in the same film; This might be strange to say but they give me similar "weird kid" vibes. The acting from them, and from the whole cast, was superb.
I really enjoyed the plot, and the story surprised me a few times. We follow foodie, Tyler, and his date, Margot as they travel to an exclusive restaurant on a secluded island. The restaurant is owned by a world renowned chef, Julian Slowik (played by Ralph Fiennes) and is a 'farm to table' style place with the island providing the ingredients used in the restaurant. It also has a 'this kind of feels like a cult oh dear god' vibe, that works with what we see of kitchen and front of house staff in media. This means that from the moment the characters set foot on the island, you know something isn't quite right... the question is, what?
This is a film that feels very clean. It doesn't reveal too much too soon and has a cold, modern detachment as it builds the tension, which matches the feeling of the restaurant that we are in. I love the steady decent into the drama and the way everything unfolds.
This really should be a 5/5 film, it has all of the right building blocks and I really did enjoy it, but there's something holding me back. I don't think I will be thinking about this film in years to come... even though I think the concept and execution were interesting and innovative. But maybe, that feeling is intentional? Like the food served by the restaurant itself? I don't know, anyways, it's a great film, I recommend it, and I'm going to rate it highly.... but can anything beat a good burger? Or a good popcorn-film?
4.5/5 stars.
#film#cinema#movie#film review#movie review#the menu#the menu 2022#anya taylor joy#nicholas hoult#ralph fiennes#imalloutofgin
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So yeah we went to see the new Horror/Thriller movie
The Menu. I remember seeing the trailer for it
and thought it would be an interesting movie.
Now after seeing it I can say it was
very interesting and I thought that it
was very good also it was different
and that is what made it interesting
in my view.
Now from the trailer I thought it
was going to involve some Cannibalism
like they would be eating some of the
characters but it didn't but it was
not far off from that. lol
The story is basically this
Ralph Fiennes plays Chef Slowik
who is running this extremely
exclusive restaurant
on this lil island and he invites
12 people to take part in this
once in a life time meal.
little do they know that this
will be a very sinister evening
filled with not just food but
murder! being each of the guest
seemingly wronged Chef Slowik
and this is how he will get this
revenge.
Now I thought this movie did
have different layers and an
underlining story that has to
deal with various aspects of
society and feel that all the
characters are kind of
stereotypes or they represent
certain type of people
Like Ralph Fiennes plays
Chef Slowik who I felt was this
crazy Gordon Ramsay type
person who use to love what
he did but over the years all
his love and passion for it
was squeezed out of him
leaving him somewhat bitter
and cynical and kinda hateful
he lost all his fun and joy
and it was due to the
people that he invited.
Also there is others like the
vapid celebrity/movie star,
the harsh and mean spirited
restaurant critic as well as
the waspy old money rich
couple who think they can
do whatever they want because
they have money and
the poser suck-up foodie know it all
and so on.
Also there is Anya Taylor-Joy
who plays what I would consider
"the normal regular girl" Margot
who I loved in this movie and
I felt like I could relate to this
character and felt like cheering
for her in the 3rd act being she
was just amazing in this
Anya Taylor-Joy is in my opinion
the star of this movie only seconded
by Ralph Fiennes' Chef Slowik
Someone said this was going to be
like a dark comedy and I can kinda
see it being I feel alot of the humor
came from Nicholas Hoult's Tyler
where he is like totally oblivious
alot of the time to what is going on
around him its almost comical.
but this also stars John Leguizamo
who I'm always happy to see in stuff
and Judith Light who I haven't seen
in a while. I thought everyone was
really good in this.
Also yes this is a horror movie
but it is one of those "slow burn"
type of ones where are really great
at times. It starts off kinda creepy
and then just builds and builds
and things just start to get more and
more intense. So its not really any
jumps or creatures but it is more of a
"oh shit!" type of horror where your
left wondering what is going to happen
next but it was great.
I thought it started off good and
it kept that through the movie
with the shocks and reveals and
it had in my opinion a excellent
ending. So I would recommend giving
it a watch if you are looking
for something interesting and different
with a lil bit of social commentary
mixed in with the horror.
#The Menu#The Menu 2022#The Menu movie#naughtygirl286#shannonj286#Horror#Horror Movies#Horror Movies 2022#Horror2022
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