This handy resource does the hard work for you, listing hundreds upon hundreds of magazines. If you’re not an avid reader of literary magazines and already writing with a certain publication in mind, a great place to start is a place like Reedsy’s literary magazine directory. Luckily, it’s easy to submit a story, and you can break down the process into three simple steps. It’s a nice place to visit-but you wouldn’t want to eat there.There are hundreds of magazines out there, ranging from the prestigious to the niche, so no matter what you’re writing, there will be a place for it. And the taunting and playful score from Colin Stetson enhances the film’s rhythm, steadily ratcheting up the tension. The Altmanesque sound design offers overlapping snippets of conversation, putting us right in the mix. The sleek, chic production design from Ethan Tobman immediately sets the mood of understated luxury, and Mylod explores the space in inventive ways, with overhead shots not only of the food but also of the restaurant floor itself. The dreamy cinematography from Peter Deming makes this private island look impossibly idyllic. You don’t say.īut “The Menu” remains consistently dazzling as a feast for the eyes and ears. It becomes heavy-handed and obvious in its messaging. And yet-as in the other recent movies indicting the ultra-rich-“The Menu” ultimately isn’t telling us anything we don’t already know. The service remains rigid and precise, even as the mood gets messy. But in time, the specifically tailored dishes take on an intrusive, sinister, and violent tone, which is clever to the viewer but terrifying to the diner. The personalized treatment each guest receives at first seems thoughtful, and like the kind of pampering these people would expect when they pay such a high price. She says things like: “Feel free to observe our cooks as they innovate” with total authority and zero irony, adding greatly to the restaurant’s rarefied air. She briskly and efficiently provides the guests with a tour of how the island operates before sauntering among their tables, seeing to their every need and quietly judging them. Conversely, Hong Chau is the film’s MVP as Chef Slowik’s right-hand woman, Elsa. She is literally “the wife.” There is nothing to her beyond her instinct to stand by her man dutifully, regardless of the evening’s disturbing revelations. It’s particularly frustrating to have a performer of the caliber of Light and watch her languish with woefully little to do. Of these characters, Birney and Light’s are the least developed. And the increasingly amusing on-screen descriptions of the dishes provide amusing commentary on how the night is evolving as a whole. He begins each course with a thunderous clap of his hands, which Mylod heightens skillfully to put us on edge, and his loyal cooks behind him respond in unison to his every demand with a spirited “Yes, Chef!” as if he were their drill sergeant. Ralph Fiennes plays Chef Slowik with a disarming combination of Zen-like calm and obsessive control. But regardless of their status, they all pay deference to the star of the night: the man whose artful and inspired creations brought them there. Cyr) a wealthy older man and his wife ( Reed Birney and Judith Light) and a prestigious food critic ( Janet McTeer) with her obsequious editor ( Paul Adelstein). Both actors have a keen knack for this kind of rat-a-tat banter, with Hoult being particularly adept at playing the arrogant fool, as we’ve seen on Hulu’s “The Great.” And the always brilliant Taylor-Joy, as our conduit, brings a frisky mix of skepticism and sex appeal.Īlso on board are a once-popular actor ( John Leguizamo) and his beleaguered assistant ( Aimee Carrero) three obnoxious, entitled tech dudes ( Rob Yang, Arturo Castro, and Mark St. They’re gorgeous and look great together, but there’s more to this relationship than initially meets the eye. He considers himself a culinary connoisseur and has been dreaming of this evening for ages she’s a cynic who’s along for the ride. “What, are we eating a Rolex?” the less-than-impressed Margot ( Anya Taylor-Joy) quips to her date, Tyler ( Nicholas Hoult), as they’re waiting for the boat to arrive. Chef Slowik’s fine-tuned, multi-course dinners are legendary-and exorbitant, at $1,250 a person. But you may find yourself feeling a bit hungry after this meal is over.Īn eclectic mix of people boards a ferry for the quick trip to their storied destination. And “The Menu” is always exquisite from a technical perspective. The performances remain prickly, the banter deliciously snappy. But the build-up to what’s happening at this insanely expensive restaurant on the secluded island of Hawthorne is more intriguing than the actual payoff.
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