Mark Mylod
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Compared to the viciousness of this year’s The Menu, Triangle of Sadness is not as scathing as it wants to be.
The word ‘satire’ originally came from a Latin expression (lanx satura) for a dish full of various foods, and like Mark Mylod’s The Menu (2022), Triangle of Sadness serves up a cornucopia of bite-size – and biting – tasters.
In a period defined by sardonic, tongue-in-cheek critiques of society (such as The Menu), Triangle of Sadness fit right in.
The one-percent takedowns prove as decadent as the meals served in “The Menu.”
It’s a theme that resonates in the upcoming movie ‘The Menu,’…
…like Mark Mylod’s The Menu, Triangle of Sadness serves up a cornucopia of bite-size – and biting – tasters…
…or perhaps the critique of the elite would feel fresher if this film didn’t come years after Parasite, Triangle of Sadness and The Menu, which makes Death of a Unicorn feel a little long in the horn.
Its attempts at satire on the rich don’t ever reach the dizzying heights of movies like The Menu…
Imagine a cross between “Aftersun,” “The Menu” and “Jurassic Park” and you’ll get the idea.
“Eat the Rich” films have given us plenty of gems in the past few years (Parasite, The Menu, Knives Out), but many have become rather toothless and feel like an easy cash grab more than anything.
Whether it’s in fine-dining terror The Menu, social satire slasher Bodies Bodies Bodies, or sci-fi thriller Companion, we’re quickly learning that whenever a group of individuals get together somewhere fancy for the weekend, things are going to get dark.
Gosford Park inspires Mylod’s approach for both film and television.
In a fashion like that of Robert Altman's "Gosford Park" (2001), we are introduced to some of these privileged guests: the enthusiastic foodie Tyler (Nicholas Hoult) brings his enigmatic date Margot (Anya Taylor-Joy), who is the only one that doesn't really belong to the group and is not an expected guest by the restaurant staff; a wealthy elderly couple Richard (Reed Birney) and Anne (Judith Light) are Hawthorn's frequent guests; a prominent food critic Lillian Bloom (Janet McTeer) and her editor (Paul Adelstein) think that they contributed to Chef Julian's fame; a failing movie star (John Leguizamo) rants on with his ego and his assistant Felicity (Aimee Carrero); three arrogant tech employees Soren (Arturo Castro), Bryce (Rob Yang), and Dave (Mark St. Cyr), who work for Hawthorn's owner, behave like obnoxious brats; and Chef Julian's alcoholic mother.
Shot beautifully, scripted perfectly and acted wonderfully, “The Menu” is a dark comedy/horror in the tradition of 1995’s “The Last Supper” that uses a clever setup to explore real characters in an unreal situation.
The assemblage has something of a “Murder by Death” (1976) sheen to it, but as courses come out and the texture of the film and the meat served becomes darker, it crosses over into “Saw” territory.
If you’ve seen The Menu (2022) or Opus (2025), then you know the exact trajectory the narrative takes — the near mythical celebrity is not-so-secretly a monster with ulterior motives, which gradually becomes clear over a week of specially tailored practice sessions.
That strands the film in the same kind of isolation that enveloped a deluge of post-COVID thrillers, including the likes of The Menu, Don’t Worry Darling, and Opus.
Comic actress Anna Faris (the Scary Movie franchise) stars in this fast-paced, snarky and sometimes shocking romantic comedy based on Karyn Bosnak's bestselling novel 20 Times a Lady.
The latest version of this movie is called "What's Your Number?" and it stars Anna Faris, who is moderately famous for starring in the "Scary Movie" series and "The House Bunny."
Faris has had smaller turns in celebrated movies (Lost in Translation, Brokeback Mountain), starring roles in movies not many people saw (The House Bunny, Smiley Face), and top billing in a blockbuster spoof series no one went to for the acting (the Scary Movie trilogy).
Ed è in territorio simile che si muove in questa sede, non solo per la partecipazione produttiva di Adam McKay ma anche e soprattutto per la feroce critica sociale espressa sotto forma di commedia nerissima, che fa propria l’espressione eat the rich con brio e creatività.
Seth Reiss and Will Tracy’s script landed on the 2019 Black List, and it’s easy to see why: with its trapped-diners premise and the evisceration of those with power, it’s “The Exterminating Angel” for the franchise era.
Thematically, Bugonia is very similar to Tracy‘s previous work, The Menu, which explores the way the rich and powerful are pushing us to the point of losing our minds.
It’s penned by Will Tracy who also co-wrote 2022’s exceptional “The Menu”.
…known for his ‘eat the rich’ infused scripts in The Menu or HBO’s series Succession…
Bugonia‘s sharply-written script, by Will Tracy (who co-wrote The Menu), is consistently fascinating…
Written by The Menu screenwriter Will Tracy…
Will Tracy (The Menu, 2022) wrote the script…
The gnawing and annoying scripture that screenwriters Will Tracy and Seth Reiss replicated from works like “Don’t Look Up” and “Step Brothers” self-botches itself due to the headache and vexation-inducing takes on comedy.
Mylod and his screenwriters clearly have a field day experimenting with Agatha Christie-type of mystery, notably her acclaimed 1939 novel And Then There Were None , which involved 10 people stuck on a deserted island.
Except that it wasn’t the kind of whodunit similar to say, Knives Out or this year’s Death on the Nile but more of a mystery drama that explored the grim nature of Chef Slowik’s multi-course agenda in a darkly comic manner.
…most of them falling by the wayside because they have nothing to say besides the fact that the problem exists (I’m looking at you, The Menu)…
Favreau has crafted the cinematic equivalent of the well-made cheeseburger at the climax of The Menu…
“Mulholland Drive” cinematographer Peter Deming’s character floats among the diners, unifying them as a passive collective: As the portents of doom mount, why don’t they fight back more than they do?
D’altronde, l’idea di unire orrore e cibo non è del tutto nuova (si pensi a prodotti orientali come il violentissimo The Untold Story di Herman Yau, ma anche al più concettuale e inquietante Dumplings di Fruit Chan); e inoltre, a ben vedere, il genere possiede da sempre, in sé, quella carica “grafica” e irriverente che ben si sposa con la messa alla berlina dell’asettico, sofisticato e plastificato mondo mediatico dell’alta cucina, così come con quello degli chef assurti al ruolo di guru.
The film boasts a fine ensemble, with Hoult, Chau, and McTeer all turning in effective supporting turns (Hoult’s ability to be at once obnoxious and pathetic is put to good use here), but it’s Taylor-Joy and Fiennes who are the stars, along with Ethan Tobman’s glossy-rustic production design (Hawthorne is located on a remote island – it’s a little like if Oscar Isaac in Ex Machina was a restaurateur), Colin Stetson’s literally high-strung score, and the hilariously pretentious dishes designed by chef/consultant Dominique Crenn, including a breadless bread plate, a scallop topped with frozen seawater and served on a rock, and s’mores as you’ve never seen them.
…it revels in what feels inconsistent in the same way that the kind of restaurant that is setting for The Menu will present a dish called 'Trio de maquereaux' and in that fish three ways feed not five thousand but potentially for prices approaching that number.
As The Menu demonstrated, good ingredients are made something special in presentation.