Directed by Mark Mylod — Screenplay by Seth Reiss and Will Tracy.
Mark Mylod’s The Menu follows Margot (played by Anya Taylor-Joy) and her food-obsessed boyfriend, Tyler (played by Nicholas Hoult). Tyler has paid for them to go to this highly exclusive restaurant called ‘Hawthorne,’ which resides on this little remote island. Hawthorne is home to the world-renowned chef Julian Slowik (played by Ralph Fiennes) and his highly devoted kitchen staff. Tyler has paid an obscene amount of money to get there because he worships Slowik, and, in actuality, the trip wasn’t originally meant for Margot but rather for his ex-girlfriend. In fact, Margot seems wholly disinterested in the pretentious dishes and overall culture around high-end cooking. She stands out immediately among the guests who also include a food critic that can make or break careers (played by Janet McTeer), tech investors, a past-it actor (played by John Leguizamo), and others. For this evening, Slowik has prepared a detailed but theatrical menu that toys with expectations and that takes aim at his guests. But, eventually, Margot and others start to question whether what is happening is showy high-end cooking or something much more malicious.
The following is a review of X-Men: Dark Phoenix — Directed by Simon Kinberg.
“You’re always sorry, Charles, and there’s always a speech. But nobody cares anymore,” is the line that is going to be cited to oblivion in reviews of the final Fox-controlled X-Men film, Simon Kinberg’s Dark Phoenix. It is a line uttered by Fassbender’s Magneto-character, and, even though it certainly is in-character, it almost feels like unintentional self-directed criticism on the part of the writer-director. Or, perhaps, one might suggest it speaks to our collective disinterest in these films after Days of Future Past and Logan successfully bid farewell to that era of superhero filmmaking.
As is made painfully clear, one of the actors doesn’t even care anymore, so why should audiences? It hasn’t helped that X-Men: Apocalypse left a sour taste in people’s mouths. And the fact that Disney can now shoehorn the X-Men into their wildly successful Marvel Cinematic Universe whenever they see fit surely hasn’t helped in bringing new audiences to the long-running X-Men film series. Fox’s X-Men is a tired film franchise and that quote perfectly encapsulates the way many feel about these films. Continue reading “REVIEW: X-Men: Dark Phoenix (2019)”→
It is finally time for me to announce my own personal film nominations for the I’m Jeffrey Rex Awards of 2018. Sure, we’re in 2019 now, but I needed some time to watch some of the films that were released in January in Denmark.
There will be a couple of surprises here, and I’m not just talking about the nominees. Four awards that have not previously been announced will make their debut here with their own sets of nominations. Also, one award has had its titled changed to allow for more than a small handful of nominees. Well, let’s get to it. Continue reading “IJR Awards 2018: Film Nominations Announced”→
The following is a review of The Favourite — Directed by Yorgos Lanthimos.
When I first saw the brilliant-but-beautifully-absurd The Lobster a couple of years ago, I was wildly impressed with this ‘new’ director that I thought I had come upon. That was an extremely assured but absurdist-to-the-bone English-language debut, and he followed it up with The Killing of a Sacred Deer, which is another successful but very odd film. I’ve enjoyed both of these English-language films, so I was, naturally, intrigued by his next inspired and auteurist foray into English-language filmmaking — The Favourite. Continue reading “REVIEW: The Favourite (2018)”→
The following is a review of X-Men: Apocalypse, a Bryan Singer film.
I think X-Men: First Class is one of the most brilliant superhero-team movies ever made. The sequel, Days of Future Past, was a confident time-travel film, and I thought that film really worked well too. Indeed, since we’ve been met with the second wave of X-Men-films, starting with First Class in 2011, the franchise has been pretty spectacular. Sadly, X-Men: Apocalypse doesn’t work as well as the two X-Men-films that preceded it. Continue reading “REVIEW: X-Men: Apocalypse (2016)”→
Not long ago we got the news that the casting process for young Han Solo was almost done. Rogue One‘s first trailer should be appearing sometime in the next month or so. So, I started to wonder about other possible Star Wars-anthology films that I wanted made. That lead me to today’s post, wherein I pitch two Star Wars stories for Disney to adapt. Continue reading “2 Spin-Off Stories We Need – Dagobah Day #11”→
The following is a review of Mad Max: Fury Road — Directed by George Miller.
Thirty years ago the last Mad Max-film, Mad Max: Beyond Thunderdome, was released. Although all three films are beloved by fans, it is still somewhat of a cult franchise. Sure, very few people realize just how much the original Mad Max films gave to its genre. Yes, some people have surely understimated the impact of the film series. But the franchise is, by no means, a film that young audiences hold dear right now. Nevertheless, you don’t get many better dystopian action films than Mad Max: Road Warrior. However, I am pleased to report that the latest Mad Max-sequel, Mad Max: Fury Road, actually tops it. George Miller’s latest film is absolutely terrific.