---
title: "The Menu"
year: 2022
kind: "film"
canonical: "https://film.one/film/the-menu"
fi1m_id: "the-menu"
imdb_id: "tt9764362"
tmdb_id: 593643
wikidata_id: "Q108444804"
fi1m_score: 72
critics_score: 66
critics_reviews: 29
published: "2026-10-14T18:47:29.393944+00:00"
updated: "2026-10-14T18:47:29.393944+00:00"
region: "SE"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Menu (2022)

Directed by Mark Mylod · 1h 47m · Statens medieråd 15 · Comedy, Horror

## Identity

The Menu

- **Canonical:** https://film.one/film/the-menu
- **Type:** Film
- **Fi1m ID:** the-menu
- **IMDb ID:** tt9764362
- **TMDB ID:** 593643
- **Wikidata ID:** Q108444804
- **Same entity:** https://www.imdb.com/title/tt9764362/, https://www.themoviedb.org/movie/593643, https://www.wikidata.org/wiki/Q108444804

**Fi1m score: 72** · Critics 66 from 29 reviews

*In a sentence:* Ralph Fiennes claps once and a room full of rich people stops chewing

> Mark Mylod’s horror comedy about a tasting menu gone wrong is sharply cast, often funny and never dull, and it has one point to make about rich diners and their chef, which it makes and then makes again. Fiennes and Hong Chau are worth the trip.

## Synopsis

Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) take a small boat to a private island for dinner at the restaurant of the celebrated Chef Slowik (Ralph Fiennes). Tyler has waited months for the booking and knows every course by heart; Margot is a last-minute replacement who would rather be anywhere else. Elsa (Hong Chau), the maître d’, seats the guests: a food critic, Lillian (Janet McTeer), and her editor Ted (Paul Adelstein), three braying young men on company money (Rob Yang, Arturo Castro), a fading film star (John Leguizamo), an elderly couple (Reed Birney, Judith Light). Slowik claps once, the kitchen answers in one voice, and the courses begin.

## Review

A small boatload of rich people pay a great deal of money to be ferried to an island, seated in a dining room with a view of the sea, and fed by a chef who has stopped enjoying his work. That is the whole of *The Menu*, and Mark Mylod, working from a script by Seth Reiss and Will Tracy, gets a sharp and funny hour out of it before the film starts repeating itself. It is well cast, well built and about the right length for one idea told twice.

Ralph Fiennes plays Chef Slowik as a man who has been applauded for so long that he has gone deaf to it. He introduces each course with a single clap, the kitchen answers in one voice, and then he talks, quietly and at length, about what is on the plate and why it is there, in the tone of a magistrate reading out sentence. It is a patient, closed, unnerving performance, and the film’s best scenes are the ones where he stands at the pass and looks at the dining room. Hong Chau’s Elsa, the maître d’, is nearly as good: polite, immovable, and plainly on the chef’s side rather than the guests’. Her welcome speech sounds like hospitality the first time and like a warning the second.

Ethan Tobman builds the restaurant as one long timber room with the kitchen open at the end of it, so the diners can see the staff and the staff can see the diners and nobody can see a way out. Peter Deming shoots the courses from directly above, each plate alone under a title card giving the name and the ingredients, the way the cookery programmes do, and Christopher Tellefsen cuts the film to that rhythm, course by course, so the evening keeps a shape even when the plot loses one. Colin Stetson’s score is mostly low reeds and breath, closer to something inhaled than played, and it does the quiet dread the dialogue is too busy for.

Nicholas Hoult’s Tyler is the most precisely observed thing in the film: a fan who photographs every plate, corrects his date on the name of a technique, and would rather be humiliated by the chef than ignored by him. We laughed at him often, and then felt slightly sorry for him, which is more than the script bothers to feel. Anya Taylor-Joy plays Margot as the only diner not performing, watching the others the way we are, and the film’s tension lives in whether anybody has noticed. Janet McTeer, as the critic Lillian, is a good sketch of a woman who has praised too many restaurants. John Leguizamo’s film star gets one good line and spends the rest of the evening looking for another.

The trouble is that once the evening turns, at a course the menu calls The Mess, the film has only one thing to say and keeps saying it. The guests are each guilty of something and each will be told what. The chef is guilty too, of having made beautiful food for people who did not deserve it. Reiss and Tracy take turns despising the diners and despising the man who serves them, and by the later courses the speeches have replaced the jokes. The Mess itself made us flinch, properly, in the dark. Forty minutes on we found we no longer cared which table the next blow landed on, and were waiting instead to be told what it all meant. We were told.

The dinner party that turns on its guests is an old form. Buñuel’s [*The Discreet Charm of the Bourgeoisie*](https://film.one/film/the-discreet-charm-of-the-bourgeoisie) (1972) never let its diners reach the food and said more about them in the trying than this manages in a full tasting menu. *The Menu* is closer to a good first draft of a stage play, with the set and the cast in place and the second act still to be argued over.

Go for Fiennes, who gives the chef a sadness the writing never quite earns, and for the first hour, which is as funny about fine dining as anything we have seen. Eat beforehand. The food looks marvellous and nobody on screen gets to enjoy it, and after a while neither did we. It runs 107 minutes and carries a 15.

*Fi1m score 72, published 14 October 2026.*

## Straight answers

**Is The Menu worth watching?**

*The Menu* is worth watching for Ralph Fiennes, Hong Chau and a first hour that is as funny about fine dining as anything we have seen, and we scored it 72. It has one point to make about rich diners and their chef, and it makes that point and then makes it again, so the later courses lose some of the bite of the early ones.

**How long is The Menu, and what is it rated?**

*The Menu* runs 1h 47m and is rated 15 by the Statens medieråd in Sweden. It is a comedy and horror film.

**Where can I watch The Menu in Sweden?**

*The Menu* is streaming on Disney+ in Sweden. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is The Menu, and is it suitable for children?**

*The Menu* carries a 15 certificate in the UK and an R in the US, and it is not for children. It is a horror comedy, and once the evening turns there is violence; one course made us flinch properly in the dark. Teenagers who can take a nasty turn after a funny hour will be fine, but the squeamish should know the dinner does not stay polite.

**How does The Menu compare to The Discreet Charm of the Bourgeoisie?**

*The Menu* is the louder and more violent of the two, and [*The Discreet Charm of the Bourgeoisie*](https://film.one/film/the-discreet-charm-of-the-bourgeoisie) is the better film. Buñuel never lets his diners reach the food and says more about them in the waiting than Mylod manages across a full tasting menu. Go to *The Menu* for Fiennes and the jokes; go to Buñuel for the sharper, drier comedy about the same sort of people.

**What should I watch after The Menu?**

After *The Menu*, try [*The Discreet Charm of the Bourgeoisie*](https://film.one/film/the-discreet-charm-of-the-bourgeoisie) (1972, Fi1m 83): Buñuel’s diners never reach the meal; the waiting says everything this film shouts. Then [*Boiling Point*](https://film.one/film/boiling-point) (2021, Fi1m 77): One restaurant, one night, one take, and nobody has time to make a speech; and [*Triangle of Sadness*](https://film.one/film/triangle-of-sadness) (2022, Fi1m 66): Östlund’s yacht dinner goes wrong in ways The Menu only threatens.

### Reviews we read (29)

- **Variety**, Owen Gleiberman (Critics Pick): Gleiberman finds the film a hilariously sharp thriller and satire of high-end foodie culture. He praises the performances of Ralph Fiennes and Anya Taylor-Joy, as well as the director’s elegant, ice-cold staging. [Read](https://variety.com/2022/film/reviews/the-menu-review-ralph-fiennes-anya-taylor-joy-1235374185/)
- **The AV Club**, Tomris Laffly (B+): Laffly finds the film fiendishly delightful, an entertaining and familiar eat-the-rich satire. She praises its sharply observed dining-room comedy and Peter Deming’s cinematography, which heightens the class tension. [Read](https://www.avclub.com/menu-review-anya-taylor-joy-ralph-fiennes-1849790841)
- **Vulture**, Alison Willmore (80/100, inferred): Willmore finds the film a satisfying, darkly funny satire that avoids glibness and leaves viewers feeling trapped in its doomed setup. She singles out Ralph Fiennes’s performance and the film’s sympathy for the kitchen staff as especially effective. [Read](https://www.vulture.com/article/the-menu-review-a-deliciously-mean-satire.html)
- **Los Angeles Times**, Katie Walsh (78/100, inferred): Walsh finds the film a satisfying, darkly humorous satire of artists and the forces that consume their work. She praises the flawless acting, crisp cinematography and unsettling score, while noting the ending may jump the shark. [Read](https://www.latimes.com/entertainment-arts/movies/story/2022-11-16/review-menu-satire-ralph-fiennes-anya-taylor-joy-nicholas-hoult)
- **IndieWire**, Christian Blauvelt (B): The critic finds the film gripping and attentive to genre, though its characters and broader indictment feel underdeveloped. Anya Taylor-Joy’s arresting, multidimensional performance stands out for praise. [Read](https://www.indiewire.com/criticism/movies/the-menu-review-anya-taylor-joy-ralph-fiennes-1234761056/)
- **The Guardian**, Benjamin Lee (B): Lee calls the film a fun but ultimately undercooked satire, whose mystery loses force as it unfolds. He praises the performances, especially Hong Chau’s, and the sharply observed absurdities of fine dining. [Read](https://www.theguardian.com/film/2022/sep/11/the-menu-review-darkly-comic-foodie-thriller)
- **Sight and Sound**, BFI (70/100, inferred): The review finds the film an unsettling, incisive story about class inequality and artistic judgment. It particularly praises the sharp observations of entitlement and the way the dinner becomes a confrontation between artist and audience. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/menu-tense-tale-slow-cooked-revenge)
- **The Hollywood Reporter**, Lovia Gyarkye (65/100, inferred): Gyarkye finds the film an amusing, stylish dark comedy, though its class commentary is less subtle than it promises. She especially praises the scenes showing the staff’s meticulous process of creating and presenting each dish. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/the-menu-anya-taylor-joy-ralph-fiennes-nicholas-hoult-mark-mylod-1235216647/)
- **Time Out**, Time Out İstanbul editörleri (65/100, inferred): The page identifies the film as an intriguing upcoming release, but offers no accessible critic verdict. It gives no specific praise or complaint about the film. [Read](https://www.timeout.com/tr/film/the-menu-2022)
- **RogerEbert.com** (64/100, inferred): The page did not load, so its verdict cannot be determined. No praise or complaint from the critic was available to assess. [Read](https://www.rogerebert.com/reviews/the-menu-movie-review-2022)
- **Screen Daily**, Wendy Ide (64/100, inferred): The accessible page identifies this as a Toronto review, but the review itself is behind a paywall. Its verdict and any specific praise or complaint cannot be determined from the available text. [Read](https://www.screendaily.com/reviews/the-menu-toronto-review/5174339.article)
- **The New York Times** (64/100, inferred): The page content is inaccessible, so the critic’s verdict cannot be determined. No specific praise or complaint can be verified from the available text. [Read](https://www.nytimes.com/2022/11/17/movies/the-menu-review.html)
- **Radio Times**, Max Copeman (3/5): The review gives the film 3/5, a middling rating. Its available text highlights the black comedy’s aim at the one per cent and its privileged diners. [Read](https://www.radiotimes.com/movie-guide/b-geh4at/the-menu/)
- **The i Paper**, Francesca Steele (60/100, inferred): Steele finds the film entertaining and deliciously gory, but says its twist fails to land. She praises Ralph Fiennes’s imperious performance and the cast, while faulting the tonal shift toward gravitas. [Read](https://inews.co.uk/culture/film/the-menu-review-anya-taylor-joy-satire-deliciously-gory-but-doesnt-pull-off-twist-1972564)
- **Slant Magazine**, Wes Greene (2/4): Greene finds the satire increasingly hollow and the film’s premise ultimately underdelivered. He praises the gallows humor in some horror sequences, especially the early “The Mess” course. [Read](https://www.slantmagazine.com/film/the-menu-review-ralph-fiennes-anya-taylor-joy/)
- **Empire**, Siddhant Adlakha (45/100, inferred): The critic finds the film entertaining but not consistently thrilling, with its tension fading when it should peak. Fiennes’s magnetic performance stands out, while the plot’s abrupt, loosely assembled escalations draw criticism. [Read](https://www.empireonline.com/movies/reviews/the-menu/)
- **Little White Lies**, David Jenkins (4/1/1): Jenkins finds the film smug, cynical and conceptually overwrought. He singles out its one-dimensional characters and implausible setup as key weaknesses. [Read](https://lwlies.com/reviews/the-menu)
- **Paste**, Matthew Jackson (9.5): Jackson calls the film a deeply satisfying blend of dark comedy, violence, and genre fun. He especially praises the performances of Ralph Fiennes, Anya Taylor-Joy, and Hong Chau. [Read](https://www.pastemagazine.com/movies/anya-taylor-joy/the-menu-review)
- **Film Stories**, Lauren Miles (80/100, inferred): The critic finds the film a tense, unpredictable, and genuinely amusing thriller. She particularly praises the ensemble performances and the striking cinematography of the food and kitchen. [Read](https://filmstories.co.uk/reviews/the-menu-review-strange-things-are-happening-in-ralph-fiennes-kitchen/)
- **Digital Spy**, Ian Sandwell (75/100, inferred): The critic finds the film a darkly funny, often shocking black comedy that keeps viewers on edge. He especially praises its twists and Anya Taylor-Joy’s sharp performance. [Read](https://www.digitalspy.com/movies/a41949831/the-menu-review-anya-taylor-joy-nicholas-hoult/)
- **Eye for Film**, Andrew Robertson (75/100, inferred): Robertson finds the film a delight, praising its playful blend of creativity and dark comedy. He singles out its technical flair and obsessive attention to detail. [Read](https://www.eyeforfilm.co.uk/review/the-menu-2022-film-review-by-andrew-robertson)
- **Polygon**, Tasha Robinson (75/100, inferred): The critic finds the film an intriguing, darkly funny thriller that avoids becoming a simple eat-the-rich morality tale, though some motives and tonal choices weaken it. The performances, especially Ralph Fiennes’s unsettling turn, and the striking production design stand out for praise. [Read](https://www.polygon.com/reviews/23373306/the-menu-review-ralph-fiennes-anya-taylor-joy/)
- **The Wrap**, William Bibbiani (75/100, inferred): The critic finds the film a diabolically odd, satisfying horror comedy with dark humor that steadily builds. Ralph Fiennes earns particular praise for playing Chef Slowik with sincerity, sadness, and wit. [Read](https://www.thewrap.com/the-menu-film-review-ralph-fiennes-anya-taylor-joy/)
- **Deadline**, Valerie Complex (70/100, inferred): The critic finds the film an unnerving, enjoyable satire with a strong ensemble. They especially praise Hong Chau’s performance and the precise, forceful sound design. [Read](https://deadline.com/2022/09/toronto-review-mark-mylods-psychological-1235114831/)
- **Den of Geek**, Don Kaye (3.5/5): The critic finds the black comedy entertaining despite an overextended climax and somewhat obvious metaphors. He praises the stars, especially Ralph Fiennes, and the film’s tonal control. [Read](https://www.denofgeek.com/movies/the-menu-ralph-fiennes-anya-taylor-joy-serve-black-comedy/)
- **/Film**, Chris Evangelista (7/10): The film is a gloriously twisted, entertaining experience, though it lags and leaves some setups unresolved. Ralph Fiennes’s sinister, pitch-perfect performance is the main reason it works. [Read](https://www.slashfilm.com/1002746/the-menu-review-ralph-fiennes-serves-up-a-delightfully-wicked-feast-tiff/)
- **The Ringer**, Alison Herman (65/100, inferred): Herman finds the film entertaining, though its competing critiques and shifting tone do not always cohere. She praises its precise dining-room details and striking setpieces, while faulting its ideas for biting off more than they can chew. [Read](https://www.theringer.com/2022/11/18/movies/the-menu-review-movie-anya-taylor-joy-ralph-fiennes)
- **Collider**, Chase Hutchinson (C): The critic finds the thriller repetitive, tiresome, and too toothless to deliver its intended satire. They praise Ralph Fiennes’s menacing performance, but say it cannot make up for the film’s weak writing and lack of direction. [Read](https://collider.com/the-menu-review-anya-taylor-joy-ralph-fiennes/)
- **The Playlist** (30/100, inferred): The headline indicates a negative verdict, saying the film’s class critiques fall short. It singles out those critiques as the main complaint. [Read](https://theplaylist.net/the-menu-review-foodie-black-comedys-condescending-class-critiques-dont-cut-the-mustard-tiff-20220913/)

## Details

- **Director:** Mark Mylod
- **Director:** Mark Mylod
- **Writer:** Seth Reiss, Will Tracy
- **Cinematography:** Peter Deming
- **Editor:** Christopher Tellefsen
- **Music:** Colin Stetson
- **Production design:** Ethan Tobman
- **Costume design:** Amy Westcott
- **Producer:** Adam McKay, Betsy Koch, Katie Goodson-Thomas
- **Cast:** Anya Taylor-Joy as Margot; Ralph Fiennes as Chef Slowik; Nicholas Hoult as Tyler; Janet McTeer as Lillian; Paul Adelstein as Ted; Rob Yang as Bryce; Aimee Carrero as Felicity; John Leguizamo as Movie Star
- **Runtime:** 1h 47m
- **Certificate (Statens medieråd):** 15
- **Release (Sweden):** 18 November 2022
- **Genres:** Comedy, Horror
- **Budget:** $35 million
- **Box office:** $80 million
- **Trailer:** https://www.youtube.com/watch?v=C_uTkUGcHv4

## Where to watch in Sweden

- Disney+: streaming, uhd

*Checked 2026-10-13.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TR, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Discreet Charm of the Bourgeoisie* (1972), Fi1m 83: Buñuel’s diners never reach the meal; the waiting says everything this film shouts. — [Fi1m page](https://film.one/film/the-discreet-charm-of-the-bourgeoisie.md)
- *Ready or Not* (2019): A rich family, a locked house and a bride who refuses to play along.
- *Boiling Point* (2021), Fi1m 77: One restaurant, one night, one take, and nobody has time to make a speech. — [Fi1m page](https://film.one/film/boiling-point.md)
- *Triangle of Sadness* (2022), Fi1m 66: Östlund’s yacht dinner goes wrong in ways The Menu only threatens. — [Fi1m page](https://film.one/film/triangle-of-sadness.md)
- *The Cook, the Thief, His Wife & Her Lover* (1989), Fi1m 78: Greenaway’s restaurant is a theatre of cruelty and the kitchen is the only refuge. — [Fi1m page](https://film.one/film/the-cook-the-thief-his-wife-and-her-lover.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-menu