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Review: ‘The Menu,’ with Anya Taylor-Joy, serves up satire

Source image: https://abcnews.go.com/Entertainment/wireStory/review-menu-anya-taylor-joy-serves-satire-93434907

“What are we eating? A Rolex?”

So quips Margot (Anya Taylor-Joy) in Mark Mylod’s “The Menu” as she waits with her date, Tyler (Nicholas Hoult), a devoted foodie who has landed them a reservation at the exclusive restaurant Hawthorne. Like the opening of Rian Johnson’s upcoming “Glass Onion: A Knives Out Mystery,” an eclectic, upscale bunch gathers eagerly on a dock to be ferried to a private island.

The movie, like their meal, unfolds as a series of courses, each more elaborate, and sinister, than the last. This is such rarified haute cuisine that entries are promised that will not just represent food realms like protein and fungi but “entire ecosystems.” A paired pinot wine is said to feature “a faint sense of longing and regret.” Julian Slowik (Ralph Fiennes), Hawthorne’s celebrity chef, presides over the restaurant less like a cook than a military commander or, possibly, a god. “Do not eat,” Slowik tells the diners. “Taste.” He is, to say the least, not someone James Corden would want to quibble with.

The world of fine dining has, for a while now, been ripe for satire. And “The Menu” happily supplies a heaping plate of it. The film, which opens in theaters Friday, may be aimed at somewhat low-hanging fruit and may ultimately not have all that much to chew on. But Mylod, who directed a number of the episodes to “Succession,” brings an icy, stylish flare in another kind of cleverly staged eat-the-rich comedy that — particularly thanks to the elite eye-rolling of Taylor-Joy and Fiennes’ anguished artist — is still a very tasty snack.

The screenwriters Seth Reiss and Will Tracy, both veterans of the Onion, bake an amouse bouche of commentaries on class and service industry dynamics into an increasingly unhinged, and bloody, romp that may not offer too many surprises but consistently hits a satirical sweet spot.

Dining alongside Margo and Tyler are a trio of tech bros (Arturo Castro, Rob Yang, Mark St. Cyr), a movie star (John Leguizamo) and his assistant (Aimee Carrero), a prominent food critic and her editor (Janet McTeer, Paul Adelstein) and a married couple who are Hawthorn regulars (Reed Birney, Judith Light). From the beginning, the question of whether they’re worthy of the brilliance they’re about to be served is a pervasive tension — a feeling that accelerates absurdly and disturbingly as the evening wears on.

Elsa (Hong Chau), their guide and the restaurant’s manger, certainly doesn’t seem to think so. She deliciously tours them through all things Hawthorne, inviting the guests to watch the chefs in the open kitchen “while they innovate,” announcing dishes like “a breadless bread plate” and generally stealing the show. Her pretentiousness is merciless and grows increasingly less subtle. In the ear of one complaining tech bro she whispers: “You will get less than you desire and more than you deserve.”

The same, perhaps, could be said of “The Menu,” a film with many tantalizing ingredients. Of all the patrons, Margot fits in the least, something that Julian recognizes immediately. His immaculately orchestrated morality play isn’t intended to have a place setting for her. As we can see in how she winces when Tyler describes the “mouthfeel” of a meal, she doesn’t worship at the same altar of high cuisine. But even as “The Menu” teeters unevenly in its third act and things get gruesomely less appetizing, its greasy last bites succeed in capturing one common aspect of molecular gastronomy: “The Menu” will leave you hungry.

“The Menu” a Searchlight Pictures release, is rated R by the Motion Picture Association for strong/disturbing violent content, language throughout and some sexual references. Running time: 107 minutes. Three stars out of four.

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Follow AP Film Writer Jake Coyle on Twitter at: http://twitter.com/jakecoyleAP

Source: https://abcnews.go.com/Entertainment/wireStory/review-menu-anya-taylor-joy-serves-satire-93434907

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Book Review: Explosive debut novel ‘Fireworks Every Night’ is a bittersweet celebration of survival

“Fireworks Every Night” by Beth Raymer (Random House)

C.C.’s isn’t your typical rags-to-riches story. She remembers growing up in a single-wide with her older sister, stay-at-home mom and car-salesman dad. But she also remembers when they moved to Florida after everything in the car lot burned down — including their home — launching them into a comfortable middle-class life and a fresh start in a state her dad proudly brags has fireworks every night.

“Fireworks Every Night” is Beth Raymer’s debut novel, but not her first book. Following her 2010 memoir “Lay the Favorite,” she borrows from her life to create a deeply personal story of a dysfunctional family.

Having grown up in West Palm Beach, Raymer puts her local knowledge to use as her protagonist — a resident of Loxahatchee, Florida — rattles off the schools she plays basketball against, and how worn down or rich they are. She’s familiar with the Baker Act and who’s been institutionalized through its use. She knows all the neighborhoods and has eaten at Benny’s on the Beach.

If the gorgeous cover designed by Elizabeth A. D. Eno isn’t enough to draw you in, let the heartbreakingly determined main character and the promise of an earnest look at the skeletons in her closet convince you.

In adulthood, C.C. is engaged to a well-educated and absurdly wealthy man — a far cry from the childhood in which she learns what it means to fight for survival. Hopping between the two timelines in stark juxtaposition, the full picture of C.C.’s life emerges.

As kid-C.C.’s home life comes completely unraveled, the story morphs from tragicomedy to horror, revealing how her family fell apart and left her sister struggling with addiction, her mother chronically absent and her father homeless. All the while, adult-C.C. is juggling a host of modern stresses: the viability of having children, climate change, living in a world that makes it far too easy to compare yourself with the 8 billion others who inhabit it, and reconciling your self-worth with the balance in your bank account.

Raymer launches addiction, homelessness, neglect and poverty shamelessly into the lexicon, treating C.C. and her family with nothing less than respect.

A nature motif runs throughout the story, blurring the line between animal and human and calling into question what is “natural” in a world so unnaturally shaped by people. Animals play a quiet but pivotal role throughout “Fireworks Every Night,” shaping Raymer’s engrossing novel into a bittersweet celebration of the scrappy Americans who are finding a way to survive even as the elite push humans and animals alike out of their habitats.

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Book Review: ‘White House by the Sea’ tells storied Kennedy tale through family’s compound

“White House By the Sea: A Century of the Kennedys at Hyannis Port” by Kate Storey (Scribner)

The history of the Kennedy family is so well-chronicled — from the modern Camelot legend surrounding John F. Kennedy’s presidency to the series of tragedies that marked the family throughout the 20tb century — that it’s hard to imagine new ways to tell their story.

But Kate Storey does just that in “White House By the Sea: A Century of the Kennedys at Hyannis Port” — revisiting the family’s history through their time at the famed Kennedy compound on Cape Cod.

Storey, the senior features editor at Rolling Stone magazine, weaves a fascinating narrative about the Kennedy family using Hyannis Port as the backdrop. The book traces the family’s ties to the compound back to the 1920s, when Joseph Kennedy bought Malcolm Cottage, what became known as the Big House.

Many of the stories feel so familiar, from Joseph Kennedy Jr.’s death during World War II to John F. Kennedy Jr.’s fatal plane crash in 1999. The compound was also the setting for much happier occasions, including John F. Kennedy’s presidential acceptance speech and the wedding of Arnold Schwarzenegger and Maria Shriver.

Storey gives them a fresh look with new details and well-sourced reporting that opens up a traditionally private community — “what’s left of Camelot,” she writes.

Storey’s research gives the book a more intimate feel than many other histories of the Kennedy family, introducing figures that aren’t as well-known but played a key role in the family and its compound. Fittingly, it’s written in an accessible way that makes the book a welcome beach read.

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Fox News unveils primetime lineup with Jesse Watters in Tucker Carlson’s former time slot

Jesse Watters will fill the Fox News Channel time slot left vacant by the firing of Tucker Carlson, part of a dramatic revamp of the network’s evening lineup announced on Monday.

Greg Gutfeld’s late-night show that combines news and comedy will move up an hour to start at 10 p.m. Eastern, displacing Laura Ingraham. She’ll shift to 7 p.m., the hour that Watters has occupied. Sean Hannity will stay in his 9 p.m. time slot, Fox said. The new lineup debuts on July 17.

The announcement comes roughly two months after Fox News fired Carlson shortly after settling a defamation lawsuit with the voting machine maker Dominion Voting Systems on the eve of trial. The case, which centered on the network’s airing of false claims following the 2020 presidential election, exposed a trove of private messages sent between Fox hosts, including Hannity and Carlson, in which they criticized peers at the network.

Carlson has since begun doing occasional monologues for Twitter, although Fox is attempting to get him to stop the broadcasts.

Fox has seen its ratings tumble since Carlson exited. Carlson averaged 3.25 million viewers at 8 p.m. in the first three months of the year, and the string of guest hosts who replaced him the past two months usually reached under 2 million, making the network’s command more tenuous.

The lineup change signals that Fox is doubling down on its opinionated evening programming strategy, with three sharp-tongued men filling the prime-time hours. It’s something of a triumphant return for Watters, who got his start at the 8 p.m. hour, doing man-in-the-street interviews and other features for Bill O’Reilly before O’Reilly’s firing in 2017.

It also means double duty for Gutfeld and Watters, who are both panelists on “The Five” and will continue there. The late-afternoon political talk show has become Fox’s most popular program.

Keeping that show’s chemistry intact appeared to be a priority for Fox. Gutfeld said in a Wall Street Journal interview last week that he would no longer appear on “The Five” or do his late-night show if he were to get Carlson’s old time slot.

Trace Gallagher, who has worked at Fox since the network began in 1996, will host a news show at 11 p.m., filling the hour that Gutfeld is leaving vacant.

“The unique perspectives of Laura Ingraham, Jesse Watters, Sean Hannity, and Greg Gutfeld will ensure our viewers have access to unrivaled coverage from our best-in-class team for years to come,” Fox News CEO Suzanne Scott said in a statement.

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