The Menu (2022)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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.

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.

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.

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.

Jenkins finds the film smug, cynical and conceptually overwrought. He singles out its one-dimensional characters and implausible setup as key weaknesses.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

The headline indicates a negative verdict, saying the film’s class critiques fall short. It singles out those critiques as the main complaint.