Tag Archives: Will Tracy

CINEMA REVIEW: THE MENU (2022)

CINEMA REVIEW: THE MENU (2022)

Directed by Mark Mylod

Written by: Seth Reiss, Will Tracy

Produced by: Adam McKay, Betsy Koch, Will Ferrell

Cast: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Reed Birney, Judith Light, John Leguizamo, etc.

Cinematography Peter Deming

*** MAY CONTAIN SPOILERS ***



I love cinema and films like The Menu (2022), as much as I love food and drink. Wow, some of the food shown on screen looked absolutely delicious, while some of it was that weird cuisine so gorged on by the pompous moneyed folk of this world. I must admit that I have had an unhealthy relationship with food. I have been an overeater and also overweight. I am a food addict, notably sugar and alcohol. I have attempted to control it with various dietary ventures. Low calorie, low carbohydrate, low sugar, running, gym, fasting, temperance and other (un)successful attempts at moderation have ensued. Presently, I am pretty fit from a cardio perspective, and twenty kilos lighter than I was ten years ago. But I could do much better.

I’ve always strived to eat healthily, but fine dining was never really for me. It was only when I met my wife eight years ago that I was introduced to gourmet dining and the dreaded tasting menu. Aside from the over-priced food, I just find those posh restaurants too pretentious for a working-class boy from Battersea. Yet, I would go out with my wife for a treat and eat at some wonderful restaurants in Edinburgh, Copenhagen, Cornwall, London and many more. Some were amazing and some I found were not really value for money. The personality cult of the celebrity chef continues to thrive also. Aside from enjoying Ramsay’s Kitchen Nightmares they’ve never really interested me. Yet, I was onboard while imbibing the skewered satire of The Menu (2022). Because it’s a sharply scripted horror film which comes to the boil slowly before delivering a killer set of courses throughout.



It’s best to experience The Menu (2022) without knowing too much. The surprises in the inventive script are a constant joy. The setting is an exclusive and expensive restaurant on a remote island called Hawthorne. The host, menu architect and epicurean is celebrity chef, Julian Slowik. Chef is portrayed with intense control and focus by Ralph Fiennes. Slowik finds himself worshipped by his kitchen acolytes, who adhere to his every demand. He is brilliant and to be feared, like many a charismatic cult leader before him. Eat your heart out, Gordon Ramsay.

Arriving by boat to the blighted isle are twelve restaurant-goers such as a team of rich finance guys, a once famous Hollywood actor (John Leguizamo) and his PA, a wealthy middle-aged couple, a food critic (Janet McTeer) and her yes-man assistant, plus the mis-matched couple, Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult). Tyler is a sycophantic fanboy of Slowik’s food and career, something that later comes to horrifying catharsis. Indeed, as well as the mysterious menu, many of the guests are harbouring a secret that this hell’s kitchen is more than prepared to burn.

Structured, unsurprisingly, around the courses of a tasting menu with titles separating each dish, the food delivered is both imaginative and beautifully presented. Margot’s character pushes back on what she considers to be both ostentatious and insubstantial food, much to Tyler’s annoyance. Their conflict intersperses the rising suspense that derives from Julian’s menu, which raises the stakes gradually, before events truly reach boiling point. In Slowik’s restaurant the customer is definitely NEVER right. Similar to Ready or Not (2019), The Menu (2022) is a fantastically twisted and funny genre film. Fiennes, Taylor-Joy, Hoult and Hong Chau are on terrific acting form. Further, the production design and cinematography make the visuals succulent and palatable. Ultimately, for those who love food, fear and vengeance, this film is certainly best served hot!

Mark: 8.5 out of 11


HBO TV REVIEW SUCCESSION (2019) – S2 – EASILY ONE OF THE BEST TV SHOWS OF 2019!

SUCCESSION (2019) – SEASON 2

Created by – Jesse Armstrong

Writers – Jesse Armstrong, Jon Brown, Jonathan Glatzer, Anna Jordan, Mary Laws, Georgia Pritchett, Tony Roche, Susan Soon He Stanton, Will Tracy

Directors: Kevin Bray, Becky Martin, Mark Mylod, Andrij Parekh, Robert Pulcini, Matt Shakman, Shari Springer Berman

Executive Producers: Ilene S. Landress, Kevin Messick, Frank Rich, Will Ferrell, Adam McKay, Jesse Armstrong

Producers: Regina Heyman, Dara Schnapper

Cast: Hiam Abbass, Nicholas Braun, Brian Cox, Keiran Culkin, Peter Friedman, Natalie Gold, Holly Hunter, Danny Huston, Cherry Jones, Matthew MacFadyen, Alan Ruck, Parker Sawyers, Sarah Snook, Fisher Stevens, Jeremy Strong, Rob Yang etc.

Composer: Nicholas Britell

Original Network: HBO

**CONTAINS SEASON ONE SPOILERS**



“So, someone’s getting shit-canned. Let’s get the party started.” — Roman Roy


If you haven’t watched HBO’s Succession (2018-2019), then I urge you to do so. It is genuinely one of the best television shows of the year. You can read my review of the first season here, but it’s safe to say Season 2, now all the characters are established and plots thickened, is even nastier, funnier, scathing, backstabbing and emotionally charged.

Succession may not appeal to everyone. If you prefer your television to be safe and heart-warming, then this is the antithesis of cosy Sunday night viewing. It’s a sickening watch at times; embarrassing and cringeworthy too. These rich capitalists and media players have more money than some countries, but they are driven to crave more. They want more money and more power! This power corrupts absolutely and for them greed is not enough. They are bored gods who having destroyed lesser humans turn on each other for sport.



The second season follows directly after the events of Season One. Waystar Royco’s uber-owner, Logan Roy (Brian Cox), has withstood a power challenge from his son, Kendall Roy (Jeremy Strong). He is under pressure now from external sources seeking to excavate a hostile takeover, plus he has to choose a successor to satisfy shareholders.

These situations, and Logan Roy’s attempts to buy one of his biggest media news rivals to bolster assets, initially drive the season forward. But, due to some brilliant writing, the series weaves many other story-lines into a web of twisted strands, all of which create humour, shock, grief, sadness and exhilaration. From Kendall’s attempts to recover from addiction to Siobhan’s (Sarah Snook) pursuit of power and Roman’s (Kieran Culkin) pseudo-Oedipal sexual dalliances, there’s all manner of turbulence for the Roy family. None more so than when — echoing the recent #MeToo scandals — historical sexual abuse in their Cruise Division comes to darken the company door.

HBO has spared no expense in this production, as we find ourselves in a variety of global venues including: New York, London, Dundee, Greece, Turkey and New Hampshire. Moreover, episodes structured around family get-togethers, business meetings, retreats, conferences, awards ceremonies and corporate away days are staged in beautiful and opulent locations. As the characters move from the boardroom to country houses to museums to super-yachts to beaches to trendy bars and off-Broadway theatres, you find yourself a tourist without having to leave the armchair.



Often you will get TV shows where a few characters will stand out as protagonists, but in Succession (2019), the writing, directing and acting is so good everyone stands out. It’s hard to pick whose acting is most impressive. But my favourites have to be Matthew McFadyen as Tom, the grovelling husband of Siobhan, and Jeremy Strong as Kendall. His ghostly performance, full of guilt and existential emptiness, is paralyzingly memorable. As well as the main cast, the production added a raft of incredible character actors such as Holly Hunter, Danny Huston, Fisher Stevens, Jeannie Berlin, Cherry Jones to name a few.

Ultimately, this is Shakespearean television of the highest quality. Succession (2019), is what we would get if Billy Wilder did TV. I haven’t even mentioned the incredible score by Nicholas Britell. The music soars and binds scenes of black comedy and blacker tragedy together with a searing complicity. As I said, the show may not contain the most likeable of characters, but, somehow, the writers, actors and production staff make you want to watch these monsters. Despite their wealth and venal ways, you’re compelled to rubberneck this coruscating humanity motorway pile-up presented as TV entertainment. The incredible dialogue alone makes it one of the best seasons of television I have seen in some time.

Mark: 10 out of 11