What I’m watching: Savor ‘The Menu,’ see ‘Spirited’ Date: 11/28/2022 New to theaters: “The Menu”
A gamut of elitist socialites embarks on an exclusive dinner from world-renowned chef Julian Slowik. Julian and his dedicated team of sous chefs prepare each of the robust courses precisely, manifesting eloquent narratives about himself and the world around him through each picturesque combination of obscure ingredients. Eventually, the guests realize that the luxurious meal is more than what they bargained for in the razor-sharp comedy “The Menu.”
Given society’s widening economic gaps, films centered on class warfare are more commonplace than ever (“Parasite,” “Snowpiercer” and “Us” are a few strong examples). Most of these features examine economic disparities with proper dramatic gravitas, often exemplifying real-world horrors in a creative fictional landscape.
On the contrary, “The Menu” portrays stark social division in a farce bursting with acidic satire. The film is all the better for its risky tonal pursuits, showcasing a fierce and well-seasoned romp that never forgets its essential thematic undercurrent.
Like any well-prepared dish, each element of “The Menu” accents its overarching ambitions effectively. Director Mark Mylod and cinematographer Peter Deming cleverly entrench viewers in a world of luxuries through their evocative camerawork. From the opulent restaurant setting to the exquisite refinement of each dish, the film develops a dynamic sense of place that gradually devolves once the evening gets underway.
The patient set-up serves as a fitting appetizer for the comical debauchery that ensues. Screenwriters Seth Reiss and Will Tracy cultivate an engrossing narrative yarn for viewers to untangle, peppering in just enough world-building textures to develop an overwhelming sense of unease. Once the shenanigans get underway, “The Menu” turns into a laugh-a-minute comedy that rightfully holds its callous characters accountable for their actions. I give Reiss and Tracy significant credit for dreaming up an unrelentingly bleak black comedy that still retains an irresistible playfulness.
A dynamite supporting cast helps tremendously in personifying the film’s slew of scumbags . John Leguizamo is fittingly arrogant as a washed-up actor grasping for his former glory days. Janet McTeer evokes intense menace as a smug food critic. Rob Yang, Arturo Castro and Mark St. Cyr have a blast displaying a trio of business airheads, while Nicholas Hoult steals the show as an obsessive foodie who takes every chance to brag about his immense knowledge. Each socialite character wears an inauthentic facade, propping up their egos under the guise that wealth makes them inherently more complex people. In reality, these characters are prisoners of their own fantasies, ultimately struggling with superficiality and deep-seated insecurities.
The true focus of “The Menu” lies with Chef Julian and Margot – a last-minute guest who comes from a decidedly different background from the rest of the crowd. Both characters share a kindred bond in their humble origins, but years of fame and acclaim have morphed Julian into a self-loathing shadow of his former glory. Star Ralph Fiennes skillfully unpeels Julian’s complex layers with deprecating humor and intimate reflections. As the likable protagonist Margot, Anya Taylor-Joy also remains a magnetic force that shines onscreen through her cunning wit.
There is a self-reflexive quality that I really enjoyed about “The Menu.” The film manages to stir around intriguing themes, although its ambitions never come at a cost to its high-wire comedy act. Setting the film inside the illustrious realm of first-class cooking acts as a savvy way to poke fun at the self-serious narrative “The Menu” flirts with becoming. Instead of serving a sophisticated 5-star meal, the film is happy to provide a satisfying bite of amusing comfort food.
“The Menu” provides a bountiful feast of humor and craft across its engaging runtime. It’s worth a watch over the holidays, especially for fans of comedies with a mystery/thriller edge.
New to theaters and streaming on Apple+: “Spirited”
The Yuletide staple “A Christmas Carol” receives a new, star-studded rendition in “Spirited.” I know what you are thinking; how many times can studios regurgitate a beloved holiday tale’s tried and true traditions? This time, viewers are entrenched in the perspective of the Ghost of Christmas Past – a well-seasoned member of an eternal organization that tries to transform rotten-egg people into kind souls.
The Ghost of Christmas Past discovers his greatest foe yet in the form of business tycoon Clint Briggs. As the CEO of a callous organization that peddles synthetic truths, Briggs seems unredeemable in his overwhelming cynicism. I’m sure you can guess what happens from here.
“Spirited” certainly isn’t reinventing the wheel, but the film doesn’t necessarily have to in its search for genuine Christmas cheer. Jazzed up with an all-star cast and a plethora of vibrant music numbers, “Spirited” offers an agreeable crowd pleaser for audiences of all ages.
It only feels right for “Elf” star Will Ferrell to rekindle his comedic spark in a Christmas-centric feature. Following years of wayward duds, like “The House” and “Daddy’s Home,” Ferrell injects his signature exuberance and affable charisma with winning results as the Ghost of Christmas Past. Additionally, Ryan Reynolds makes for a dynamic comedic foil as the wicked Clint Briggs. The actor’s gleeful snark is well-suited for the role of a vicious business leader learning to reckon with his wicked ways. Both stars make for an endearing pair onscreen, serving up snappy one-liners and enough personability to make their characters’ shared plights feel authentic onscreen.
“Spirited” presents its high-concept twist on “A Christmas Carol” with an infectious spirit. Director Sean Anders operates comfortably within the film’s studio comedy formula, steadily steering his fast-paced narrative while taking every opportunity to slip in colorful gags and showstopping music numbers. The songs here are a particular standout. Each number captures the alluring theatrics of a grand stage play through synchronized choreography and lavishly designed sets. The music also showcases the film’s effective balance between levity and pathos, merging the two dissident tonalities into a succinct summarization of the human joys and pains that feel even deeper around the holidays.
Still, I wouldn’t label “Spirited” as the next Christmas classic. The film’s reinterpretation of “A Christmas Carol” lacks ingenuity, often repurposing the same narrative beats without energizing their archaic roots. While the music numbers and comedic flourishes help conceal a few cliches, a déjà vu sensation will likely still linger with most viewers. I was also disappointed in the film’s lackluster visual presentation. Anders and his filmmaking team deploy an unnecessarily dim camera sheen that only works to muddy some of the film’s vibrant set pieces.
It may not be a perfect present, but “Spirited” boasts enough affability and pizzazz to entertain viewers looking to get into the Christmas spirit.
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