Review: Art is on 'The Menu' as biting satire serves up some mean cuisine

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Review: Art is on 'The Menu' as biting satire serves up some mean cuisine
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An elite, motley crew assembles for a very special dinner in the deliciously dark thriller satire “The Menu,” a philosophical deconstruction of artists and their enablers.

The restaurant is Hawthorne, located on a remote coastal island in the Pacific Northwest; the chef is Julian Slowik . The guests include a food critic and her editor , a group of finance guys , a diehard fan , a movie star and his assistant , and a pair of regulars . The group submits themselves to the culinary experience they are about to have at the hands of Chef Slowik, his cult of sous chefs, and his stern hostess, Elsa .

At first, it all seems painfully pretentious as the guests are served up dishes such as “The Island” and the “Unaccompanied Accompaniments,” which take deconstruction to a whole new level. Then the menu becomes a walk down memory lane for Chef Slowik, taking a turn toward the uncomfortably personal, then accusatory, shocking, aggressive, and violent.

The central metaphor is plainly obvious. “The Menu” is not about food, or eating, but about the consumption of art, as well as the forces the artist finds himself subjected to while attempting to create. Chef Slowik has sold his soul for success, subjecting himself to the whims of the big money investors, the critics, the celebrities, his mindless consumers, and worst of all, his fanboys, who think they know more than the experts, and are willing to meddle too .

Mylod has taken this script, a wordy, writerly existential crisis, and presented a slick, somewhat cold, offering. The acting is flawless, Peter Deming’s cinematography crisp, Colin Stetson’s jaggedy score appropriately unsettling. If the outré ending jumps the shark, well, it’s been earned — the satisfying “Menu” has already left us much to chew on.Running time:

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