"While THE MENU consciously pulls punch with the violent elements (finger-chopping and a death-dealing scuffle in the kitchen is all she wrote), it plays more like a discomfiting mind game which reflects on today's hoity-toity and pretentious fad in gastronomy, it is no longer the taste buds the industry strives for gratify, but a certain illusive feel-goodism under the disguise of a granola slant and exotic curiosity.
However, as a film, THE MENU aims high but hits merely in the middle, wielding its "punish the rich" flag, it never induces audience to cease questioning about the credibility of the whole nine yards, not to mention a trite episode of false hope to temporarily ginger up the somber mood. Just like the people it is leveled to mock and chide, Mylod's film is colored by its own pretension, appropriating omnipotence to state its point, it is too neat to strike a chord."
-
However, as a film, THE MENU aims high but hits merely in the middle, wielding its "punish the rich" flag, it never induces audience to cease questioning about the credibility of the whole nine yards, not to mention a trite episode of false hope to temporarily ginger up the somber mood. Just like the people it is leveled to mock and chide, Mylod's film is colored by its own pretension, appropriating omnipotence to state its point, it is too neat to strike a chord."
-