Superman

Director: James Gunn
Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Ed Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Skyler Gisondo, Wendell Pierce, Sara Sampaio, María Gabriela de Faría, Pruitt Taylor Vince, Nina Howell, Mikaela Hoover, Beck Bennett, Christopher McDonald, Bradley Cooper, Angela Sarafyan, Alan Tudyk, Michael Rooker, Pom Klementieff
Running Time: 129 min.
Rating: PG-13

★★★ ½ (out of ★★★★)  

In the decades following Richard Donner's Superman and its 1980 sequel, there's been this massive struggle over how to best present a new film that would again do justice to an iconic character. But from the slavish homage that was 2006's Superman Returns to Zack Snyder's broodier take on the material with his divisive Man of Steel in 2013, no one's really been able to crack the code since. 

Part of the problem stems from just how familiar we are with the origin story, putting the franchise in a precarious spot where DC's entire future hinges on studio chief and writer/director James Gunn's ability to somehow work around it. But within the first few minutes of 2025's Superman, he does just that, as a few sentences of text appear across the screen to concisely bring us up to speed. 

We're immediately off to the races with composer John Murphy's spine tingling new version of John Williams' iconic score as backdrop, giving us our most promising sign in years that someone may finally get this right. And with our hero's beaten and bloodied body prone on the ground, Gunn already sheds much of the baggage that's held this property down by simply getting right down to business. From then on, there's no looking back, which isn't to say the movie's flawless, just that it seems to grasp Superman's essence in a way other attempts haven't. 

After stopping the nation of Boravia from invading the neighboring country of Jarhanpur, Superman (David Corenswet) is left battered by an armored metahuman assassin known as the "Hammer of Boravia" before rambunctious super dog Krypto drags him back to his Fortress of Solitude to heal. But upon returning to Metropolis, Superman discovers billionaire Lex Luthor (Nicholas Hoult) has unleashed a monster kaiju on the city, getting help to fight it from"Justice Gang" heroes Green Lantern (Nathan Fillion), Mr. Terrific (Ed Gathegi) and Hawkgirl (Isabela Merced).  

As Superman's interview with Daily Planet colleague and girlfriend Lois Lane (Rachel Brosnahan) puts a temporary strain on their relationship, Luthor and his mercenaries Ultraman and The Engineer (María Gabriela de Faría) have infiltrated Superman's fortress, restoring a controversial message from his birth parents, Jor-El and Lara Lor-Van (Bradley Cooper and Angela Sarafyan) that turns the public and government against him. Demoralized and full of self-doubt, Superman will now need to rediscover his true purpose in order to thwart Luthor's master plan. 

Gunn doesn't shy away from Superman's inherent goodness, reflected in the character's ability to see the world for how it should be rather than what it is. Christopher Reeve played this trait sincerely, which is what made him the measuring stick for all who followed, including Corenswet, who possesses that similar quality when wearing the cape or bumbling around the Daily Planet offices as Clark Kent. And like Reeve, there's no adjustment period needed for us to wrap our heads around the fact he's Superman. From the first moment we see him, he just is.

With Superman still beloved by the citizens of Metropolis at the film's start, alter ego Clark Kent is in the awkward early goings of a secret relationship with Lois, who's already well aware of his true identity. While none of their Daily Planet co-workers even know they're dating or have an inkling who Clark really is, the fun facade they put on at work is enough to wish the film spent even more time there. 

You could actually quibble we don't get quite enough of Corenswet as Clark, if only because he plays the role so effectively. With his trademark glasses and  moptop of unkempt curly hair, his physical transformation is topped only by an underconfident demeanor and body language that has you believing photographer Jimmy Olsen (Skylar Gisondo) and editor-in-chief Perry White (an underutilized Wendell Pierce) wouldn't suspect a thing. 

If it's easy to immediately accept Corenswet, this applies equally to Brosnahan as the spunky, determined reporter with whom he shares a palpable chemistry that serves the film well, even when they're apart. Their flirty but occasionally contentious back-and-forth during her interview sets the stage for what follows, including the crisis of confidence Superman experiences when his biological parents' unsettling goal for him is revealed. So rattled by this, he'll eventually seek solace and answers back home in Smallville, where adoptive parents Jonathan and Martha Kent (Pruitt Taylor Vince and Neva Howell) help him rediscover his true purpose.

Once Superman surrenders and is held in Luthor's pocket universe prison, Gunn's script hits its stride at a midway point where most superhero entries drag or lose steam. Helping is Hoult's coldly consistent portrayal of Luthor as an Elon Musk-inspired meglomaniac who not only comes across as a credibly dangerous geopolitical threat, but a petty, jealous control freak whose ego can't handle the mere existence of a Superman. And those  worried the ancillary heroes would overwhelm the story or merely serve as a DCEU spin-off teaser will be pleased to know the Justice Gang's introduction couldn't go smoother. The only complaint is that Merced's Hawkgirl should have more to do, but Fillion's cocky, bowl haired Guy Gardner and Gathegi's stoic but hilarious Mr. Terrific make up for it, each leaving huge impressions.  

Gathegi's Terrific nearly steals the movie in his teaming with Lois, particularly during a brilliant fight sequence set to Noah and the Whale's "Five Years Time." But the most important supporting character is Krypto, the loyal caped canine with a knack for misbehaving at the right moments, like during Superman's fight against a formidable and strangely familiar looking Ultraman. Gisondo's Jimmy Olsen's involvement plays better than expected while Anthony Carrigan impresses as Metamorpho, a cell mate whose unusual abilities could either destroy or save Superman. 

It may be the worst kept best secret but Milly Alcock's cameo as Superman's cousin, Kara Zor-El/Supergirl is noteworthy, less for her showing up than the edgier context and presentation of this character. Think Will Smith in Hancock, or maybe more accurately the beloved comic book on which her upcoming film is based. True to form, Gunn also delivers a highly anticipated Superman/Luthor showdown that'll be remembered more for philosophy than fists. The speech and ensuing reaction is surprisingly emotional, resulting in a different kind of closure. At least until we get the inevitable rematch. 

With a plot both timely and direct, this incarnation of Superman doesn't lose sight of the idea that heroes are nothing without formidable villains and action spectacles mean more when you care about those involved. Briskly paced and judiciously edited, it's a good sign when any blockbuster comes to a close and you find yourself wanting more. By giving us what many complain superhero movies lately lack, Gunn avoids the pitfalls plaguing an iconic character and hampering a desperately needed rebirth. Now that he's gotten one, the rest of the pieces just might fall into place.                                               

Nosferatu

Director: Robert Eggers
Starring: Lily-Rose Depp, Bill Skarsgård, Nicholas Hoult, Aaron Taylor-Johnson, Willem Dafoe, Emma Corrin, Ralph Ineson, Simon McBurney, Adéla Hesová, Milena Konstantinova
Running Time: 132 min.
Rating: R

★★★ (out of ★★★★)    

On paper, another cinematic Dracula interpretation would seem to be the last thing anyone wants or needs, especially if it happens to be a remake of F.W. Murnau's 1922 indisputable German classic, Noseferatu. And while it's the rare project that risks trampling on sacred ground for film buffs and horror fanatics alike, most can agree that if an updated version has to happen, Robert Eggers is probably the best director for the job. And following The Witch, The Lighthouse and The Northman, it also feels like the next logical step for a filmmaker who's already proven himself more than capable of handling similar material. 

Given how there are still mainstream moviegoers unfamiliar enough with the original, Eggers now gets the opportunity to put his own stamp on the story without alienating newer audiences or offending purists. And that's just what he does, offering up an unusually distinctive vision that mostly meets those expectations. While an altogether disturbing, grotesque and unpleasant experience to sit through, that's sort of the point, as Eggers delivers on exactly what he sets out to accomplish.  

It's 1838 and the newly married Ellen Hutter (Lily-Rose Depp) and her realtor husband Thomas (Nicholas Hoult) are living in the German town of Wisburg when he accepts a job from prospective employer Herr Knock (Simon McBurney) to sell off the dilapidated Grünewald Manor estate. Upon Thomas learning the buyer is the mysteriously reclusive Count Orlok (Bill Skarsgård), a frightened Ellen begs him not to go, realizing this is the same supernatural creature she gave herself to in her youth. But knowing how this opportunity will financially benefit them, he goes, leaving Ellen to stay with wealthy friend Friedrich Harding (Aaron Taylor-Johnson), his wife Anna (Emma Corrin) and two young daughters. 

Warned by the locals to stay away from Orlok, Thomas arrives at the castle to finalize the sale before becoming suddenly ill in his presence. But the Count rejects his desperate pleas to leave, giving him little choice but to attempt an escape. Meanwhile at Friedrich's, Ellen is suffering from violent seizures, sleepwalking and hallucinations, leading eccentric Swiss scientist and occult expert Albin Eberhart von Franz (Willem Dafoe) to diagnosis her as being under the spell of the demonic, plague carrying vampire Nosferatu (a.k.a. Orlok). As she continues to conceal her connection to the monster, Thomas heads back to Wisburg, but Orlok isn't far behind, planning to claim Ellen as his own, but not before causing unimaginable bloodshed and death. 

After a methodical opening the horror truly begins at this old, cavernous estate when Thomas comes face-to-face with this vampire lurking in the shadows who lets it be known through his foreboding voice and presence that he's not just looking for a good property deal. What Orlok really covets is Ellen, who's not only terrified, but appears to be in no position to stop the potential trap Thomas has walked into.  Rendered helpless under Orlok's spell, Ellen gets little support from the Hardings, specifically a skeptical, patronizing Friedrich who refuses to acknowledge any supernatural component to this at all. 

Friedrich's disbelief reaches new heights with the arrival of Dafoe's scientist, who the actor skillfully plays as something of a loony cross between Dr. Loomis from Halloween and the psychiatrist at the end of Psycho. The film's most repulsive events unfold while Thomas is trapped inside this Transylvanian castle where's he bitten, chased by wolves and unintentionally signs his wife's life away. But once Orlok sets his sights on Ellen, the story enters its creepiest, most exciting territory as he unleashes his plague on Wisburg.

If the first half belongs to an effective Hoult as the hapless husband in way over his head, from that point on Depp is devastating as Ellen, whose traumatic past opens a gateway for destruction. In a vividly unhinged performance that conveys her character's sense of impending doom, she's over-the-top, but appropriately so, leaving no doubt what's at stake. And much like her dad, she has this peculiar onscreen charisma that seems ideally suited to Gothic horror genre. As Orlok, an unrecognizable Skarsgård makes the most of what he's given by conveying the desperate motivations of this damaged beast through what must be pounds of prosthetic makeup. 

Thrilling at times, depressingly hypnotic at others, the film definitely looks beautiful, with Jarin Blaschke's dimly lit cinematography and some visually stunning production design from Craig Lathrop bringing a nightmare to life. Functioning as an homage to the original while still remaining unmistakably his own, Eggers deserves credit for going all out with a cast that looks and feels completely at home in this demonic world, even if it can be an unsettling watch. Though more likely to evoke feelings of respect than outright admiration from some, it won't be difficult for others to embrace this with even fewer reservations.                                                                    

Juror #2

Director: Clint Eastwood
Starring: Nicholas Hoult, Toni Collette, J.K. Simmons, Chris Messina, Gabriel Basso, Zoey Deutch, Cedric Yarbrough, Leslie Bibb, Keifer Sutherland, Amy Aquino, Adrienne C. Moore, Francesca Eastwood
Running Time: 114 min.
Rating: PG-13

★★★ (out of ★★★★) 

In the tradition of 90's potboilers like A Time to Kill, The Firm or even Clint Eastwood's own Absolute Power, the director's Juror #2 is a gripping legal thriller that foregoes histrionics to instead examine the consciences of its characters. Quieter and more subtle than expected, there's a welcome lack of flash to how Eastwood efficiently makes his point about how the legal system can fail even those with noble intentions. There are grey areas here as everyone involved attempts to do the right thing, no matter how skewed the scales seem.

Jurors with different backgrounds, personalities and biases forced to reach a consensus can often make for compelling human drama, but when one's harboring a major secret, those stakes are raised. It's a relatively simple premise, but the performances and execution go a long way, reminding us how good Eastwood is when interpreting material as solid as what screenwriter Jonathan Abrams provides. Logical and engaging, this reimagines Twelve Angry Men through a different lens, with the clever twist of a lone holdout being directly involved in the case he's selected to serve on.

Savannah based journalist and recovering alcoholic Justin Kemp (Nicholas Hoult) is called for jury duty in a murder trial just as his pregnant wife Ally (Zoey Deutch) is about to give birth after having previously miscarried. When an attempt to be dismissed fails, he joins eleven other jurors in hearing the case of James Sythe (Gabriel Basso), who's accused of murdering his girlfriend Kendall Carter (Francesca Eastwood) last year after the couple's heated argument at a local bar. 

Prosecutor Faith Killebrew (Toni Collette) anticipates an easy conviction, potentially bolstering her popularity as she runs for district attorney. The opposing counsel is overworked public defender Eric Resnik (Chris Messina), who maintains his client's innocence despite struggling to overcome a mountain of circumstantial evidence and key witnesses. But when Justin realizes he was at the scene and possesses crucial information that could clear Sythe's name, he panics. At the advice of his AA sponsor, defense attorney Larry (Keifer Sutherland), Justin keeps his mouth shut, instead attempting to plant reasonable doubt in these jurors' minds without incriminating himself.

The script covers itself well in explaining how Justin not only slipped through the cracks onto this jury, but isn't aware of his possible role in the crime until the trial's underway. In certain respects, he couldn't be safer since the police already have their man, but knowing the truth, he drowns in guilt as opinionated jurors' theories place him in increasing jeopardy during deliberations. And while Justin's an amiable guy who'd rather be by his wife's side, he still has personal demons he's working to put behind him.

Through Eastwood's use of strategically placed flashbacks, more alarming details concerning where Justin went and what he did that night after leaving the bar are revealed. As small bits of visual information unspool pieces at a time, the fuller picture emerges about why he's so torn about coming forward. Weighing the ramifications of convicting of an innocent man or telling a truth that could  destroy his life, Hoult subtly conveys his character's heavy burden as a trembling Justin nervously tries to nudge these stubborn jurors.

Most of the jury deem Sythe guilty before they've entered the room, such as an irritated Marcus (Cedric Yarbrough), who has an ax to grind that has more to do with his own experiences than the defendant's actual guilt or innocence. Making matters worse, he's incredibly suspicious of James, who's fighting an uphill battle in convincing this group to consider alternate possibilities. That is until retired homicide detective Harold Chicowski senses there could be a whole lot more to this case.  

Expertly played by the great J.K. Simmons, Chicowski's been around the block, his investigative skills proving to be both a blessing and curse for James. One of the more compelling ideas he introduces is that of confirmation bias, with police working backwards to finger an obvious suspect before collecting evidence that affirms it. For them, it's all about the optics of getting that conviction, just so long as their suspect fits the profile. It's something prosecutor Killebrew knows all too well, having presumably leveraged it to her benefit many times before.   

Killebrew's rivalry with Resnick is one of the more realistically rewarding details in the script, bucking the usual trend for this genre. Far from being at each others throats, they're friends, colleagues and former classmates who may be on opposite sides, but can still joke and commiserate over drinks. This shared respect becomes increasingly important when Killebrew starts having her own doubts about Sythe's guilt. Unsurprisingly, a superb Toni Collette brings additional layers of complexity to this woman as she grows suspicious of Hoult's tormented protagonist. The result is a tense, intelligently written showdown between two decent people that Eastwood stages with nuance and restraint. 

As a potentially innocent man's freedom hangs in the balance, the title character can't be sure whether he's actually responsible. And neither can we, until the realization hits that Juror #2 isn't about that, even if we're given more than enough information to put those pieces together. In the eyes of the law, all that ever matters is the verdict, which sometimes exists in an entirely separate universe as our preconceived notions of justice.                                 

Renfield

Director: Chris McKay
Starring: Nicholas Hoult, Nicolas Cage, Awkwafina, Ben Schwartz, Shohreh Aghdashloo, Brandon Scott Jones, Adrian Martinez, Camille Chen, Bess Rous, Jenna Kanell, James Moses Black, William Ragsdale
Running Time: 93 min.
Rating: R

★★★ (out of ★★★★)  

For many, the primary reason to see Chris McKay's horror comedy Renfield was locked into place upon discovering Nicolas Cage would be playing Dracula, donning the iconic cape previously worn by Bella Lugosi, Christopher, Lee and Frank Langella. After Universal's failed attempt at rebooting their movie monster franchise with 2017's The Mummy, casting Cage as the Prince of Darkness seems almost too perfect, as it's just the kind of character this notoriously risk-taking actor can literally and figuratively sink his teeth into. You can also picture him doing backflips reading the script, salivating at the idea of putting his own distinctive spin on a role that lends itself to the kind of weird, wild reinterpretation he specializes in.

As you'd expect, Cage doesn't disappoint, and though it won't lead to big budget sequels or spin-offs, that likely wasn't the intention anyway. After all, the story's emphasis is cleverly placed on Dracula's beleaguered assistant, opting instead to administer just the right amount of Cage, whose fantastical take comes in measured, but memorable doses. The rest falls on his co-stars, who more than hold up their end by continually bringing the laughs. Working from Ryan Ridley's screenplay, McKay balances two seemingly disparate plots with very little fussiness or confusion. And in featuring some humorously exciting action sequences and impressive practical effects, it's 93 minutes seem to fly by at a breakneck pace.

After ninety years, former attorney R.M. Renfield (Nicholas Hoult) has grown tired of serving as Dracula's (Cage) loyal assistant and constantly being at his beckoned call. In exchange for bringing him master victims, he's been granted immortality by his master, gaining super speed and strength when he consumes insects. But when Dracula must recuperates from a brutal attack, the two relocate to New Orleans, as an increasingly fed up Renfield secretly joins a 12-step support group for people stuck in toxic, co-dependent relationships.

Following a warehouse massacre, Renfield finds himself in the crosshairs of Lobo crime family enforcer Teddy (Ben Schwartz), which catches the attention of hot headed N.O.P.D. officer Rebecca Quigley (Awkwafina), whose own father was killed by the Lobos. As Renfield and Rebecca form an uneasy alliance, Dracula concocts a huge plan, further manipulating his assistant. But at some point, Renfield will need to tell Rebecca about his dilemma and eventually summon the courage to break free from Dracula's control.  

While various attempts at bringing Dracula into the modern world have yielded mixed results, this takes a fresh approach by adopting Renfield's point-of-view. Without wasting time getting to business, it dives headfirst into a black-and-white opening flashback sequence that inserts its two leads into 1931's Dracula. As an early indicator of McKay's willingness to take creative leaps and make some unexpected choices, it works, providing a memorable first look at Cage in the part. He still makes this Dracula outrageously his own, but seeing him incorporated into the classic film underlines how good a fit he is, resembling Lugosi at points and even lifting mannerisms from other past portrayals (with a little Quasimodo thrown in).

As Renfield, Hoult plays straight man to Cage's ghoulish creation, faring especially well when his character yearns for a more normal life outside of pleasing his abusive master, which the film's self-help spoof really hammers home. Awkwafina's casting brings an entirely different dynamic to the type of role usually occupied by a safer, less polarizing choice. The gamble pays off, as she shoots off some sarcastically clever one liners while exterminating the bad guys alongside Hoult, with whom she shares some good chemistry. And the always entertaining Ben Schwartz steals his scenes as the loud mouthed, self-proclaimed hitman who wimpily takes orders from his mob boss mom Bellafrancesca (Shohreh Aghdashloo).  

This can all lead to one place, with Renfield seeing the light and attempting to get out from under Dracula's thumb. For Rebecca, it's about cleaning up the streets and avenging her dad's murder. Both intersect in a gory, violent climax that's as comically action packed as everything preceding it. Cage's performance may not be the only thing worth talking about, but it's high on the list, aided in part by the comparable craziness surrounding him. Undeniably odd and not for everyone, Renfield isn't perfect, but fans of the genre will probably have a tough time resisting its unique charms.           

The Menu

Director: Mark Mylod
Starring: Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Paul Adelstein, John Leguizamo, Aimee Carrero, Reed Birney, Judith Light, Rebecca Koon, Rob Yang, Arturo Castro, Mark St. Cyr
Running Time: 106 min.
Rating: R

★★★ (out of ★★★★) 

There's a character in the horror-comedy film The Menu who comments that they're starving after multiple courses of food have already been served. And we're inclined to believe it, since mouse-sized portions are common when eating at an exclusive restaurant like the one depicted here. It's also easy to lose your appetite if the evening's meal is unexpectedly derailed by murder, suicide, torture and a side order of psychotic ramblings. But what matters most is the preparation and presentation of the food, along with the fact you're dining at an important establishment that others of prominent social standing frequent. If the reward is often just being seen there, you have to appreciate how screenwriters Seth Reis and Will Tracy acknowledge that bread crumbs rarely do the trick, no matter how nice it looks on the plate. 

While the carefully selected dinner guests in this film probably don't mind paying a pricey bill, they won't even get their bread crumbs, nor will they be allowed to leave. Held hostage by an obsessive chef who favors "tasting" over "eating," he's determined to deliver a message that's uncomfortably hilarious, violent and offensively truthful. And if the conceit seems crazy, it's at least tightly constructed chaos, immersing us in the thrill of  two top class actors facing off against the backdrop of high cuisine. Surviving each course may be an endurance test for the patrons, but watching it all unfold is a twisted delight, entertaining and suspenseful enough to return for seconds.

Enthusiastic foodie Tyler Ledford (Nicholas Hoult) and his date Margot Mills (Anya Taylor-Joy) are traveling by boat to Hawthorn, an exclusive restaurant that's operated by renowned celebrity chef Julian Slowik (Ralph Fiennes) and located on a remote island. Other guests are food critic Lillian Bloom (Janet McTeer) and her editor Ted (Paul Adelstein), wealthy couple Richard (Reed Birney) and Anne Leibrandt (Judith Light), washed-up movie star George (John Leguizamo) and his assistant Felicity (Aimee Carrero), business partners Soren (Arturo Castro), Dave (Mark St. Cyr), and Bryce (Rob Yang) and Slowik's unresponsive alcoholic mother Linda (Rebecca Coon). 

Following a tour of the island's facilities by dutiful maître d' Elsa (a perfectly deadpan Hong Chau), dinner begins with Slowik introducing a series of bizarre entrées with a theme, often punctuated by some uncomfortable monologues and personal anecdotes related to each course. But when things take a drastically dark turn and the guests' secret wrongdoings are exposed, it becomes clear the host and his militant staff aren't about to let anyone exit on their own accord. As Tyler remains blindly loyal to his favorite chef, Margot's had enough, looking for ways to outsmart Slowik at his own game before their last dish is served.

Slickly Directed by Mark Mylod (who's helmed multiple episodes of of TV's Succession), much of the premise's fun comes in an inability to predict what this sadistic chef will say or do next. There's a slow building sense of tension as these self absorbed patrons swoon in anticipation of each course, blissfully unaware what's ahead, or the dastardly purpose of Slowik's menu. The film also makes hilarious use of title cards, flashing the name and ingredients of the meal on screen, with pithy comments reflecting the chef's sarcastic displeasure. It's a great touch, allowing us to go along for the ride with these unsuspecting guests as their dinner goes from bad to worse. 

Slowik's deadpan humor and stringent demands only grow more unsettling and confrontational, underlined by some really disturbing stories, including a gem involving his dysfunctional childhood that informs a chicken dish in all the wrong ways. Then comes the point of no return, as this perverse dinner theater crosses the line and the true motivation behind these invites surface. The reason for Margot's presence is a little murkier, which bothers Slowik, who has very specific plans for the evening's menu. And she wasn't factored in.

Fiennes channels an outwardly calmer, more calculating version of Gordon Ramsay in a performance that's undeniably the picture's biggest highlight, holding court with his brutal treatment of these customers, who dread the mayhem following each menu reveal. Taylor-Joy is captivating even in silence, but when Margot proves to be the only one willing to challenge Slowik, her performance really soars. In the wrong place at the wrong time, Margot's an outsider who understands his psychology better than most, looking for a weak spot to exploit in order to stay alive. In doing so, she briefly resurrects a piece of him he thought was long gone, as the screenplay makes a great philosophical point about people slowly falling out of love with their jobs, drowning in the miserable minutiae of it all. 

Hoult's Tyler wastes little time throwing his date under the bus when given a chance to sit under the learning tree of his culinary idol. Revealing himself to be more of a narcissistic weasel with each embarrassing outburst, he only generates further sympathy for Margot's plight. The rest of the cast deliver in their roles, with John Leguizamo standing out in the film's funniest scene opposite Fiennes, as we discover the real reason the chef's so repulsed by him.

With an intriguing concept likely to draw comparisons to recent pop culture satires of the rich like Glass Onion and The White Lotus, this has more than a few flourishes that set it apart, like characters who would still be equally unlikable in a lower income bracket. And it turns out recognizing the difference between a expensive dish and a high quality one comes in handy. The filmmakers at least know that nothing beats a really good cheeseburger, giving hungry viewers incentive not to think too hard about The Menu and just savor the meal.