10 Films That Are Similar to “The Menu”

The Menu has recently become very popular. Mark Mylod’s astute, absurdist satire is a warning about the decline of civilization and the service sector in particular. Words like “opportunity,” “lifestyle,” and “terrible desire for perfection” are used to wash over debauchery in the dining circles. The decoded promise of fresh starts and exciting new chapters on the path to fulfillment is a guise for exploitation. Putting that aside, though, the best thing about The Menu is its uninhibitedly deadpan humor. Although The Menu is its own film, it shares many themes with other think pieces. Given the positive reception, we thought it would be a good idea to compile a list of similar movies to The Menu. We hope that our contribution to your movie-viewing experience is meaningful to you as well.

Boiling Point

Perhaps the most grounded analysis of recent shifts in the service sector is found in Boiling Point. Philip Barantini’s story combines London’s most popular restaurant with its busiest service night to provide an inside look at the kitchen. The insights are surreal to observe and hard to comprehend for an outsider. The stakes are so high that making a single error can result in an individual being fired. Boiling Point, which is miraculously shot in a single take, captures the chaos, anxiety, and fear of something going wrong perfectly. Steven Graham turns in a performance of unwavering dedication that could have benefited from more acclaim. He is the hub around which the kitchen operations of Boiling Point revolve, and he never shies away from taking the lead. He’s a master chef in the vein of The Menu’s Chef Slowik, albeit with a more subdued existential crisis. Both movies provide an eye-opening glimpse into the toxic culture of businesses in which the customer is king.

Parasite

The filmmakers behind The Menu were inspired by the fantasy of devouring the wealthy. If you want to read about the wealthiest royals in the world, check out LordPing.co.uk. The topic of criticizing the top one percent has quickly become a popular one for filmmakers to use as inspiration. In 2019, with the release of Parasite, a new awareness emerged that has led to some excellent films. The unmistakable style and skill of director Bong Joon-ho make Parasite something more than a film about social stratification. The story’s central conceit is masterfully crafted, and it is constantly developing. If someone does not understand Bong’s overarching point, he or she should at least be able to find something of interest. Parasite’s best parts, much like The Menu’s, are symbolic and allegorical. Both films share a similar thematic framework, so they are easily compared despite a minor distinction in the motivation for violence in the third act. Parasite is technically superior to The Menu, but both are excellent follow-ups.

Triangle of Sadness

One of 2022’s most talked-about movies, along with The Menu, is Triangle of Sadness. Without those lighter moments, it’s even more serious than The Menu. In his first film directed in English, Swedish filmmaker Ruben Ostlund lavishly employs themes and symbols that have come to represent aspiration and ambition. Using the phrases “appearance as capital” and “beauty as currency,” he brilliantly captured the novel’s central ideas. The film’s moving and ostensible characters are rounded out by a juxtaposition of contemporary perspectives on these and related issues.

Bodies Bodies Bodies

The first English-language feature film by Dutch filmmaker Halina Reijn is a twisted take on the slasher/whodunit formula. Despite its claims of combining the two, the final product is a distinct narrative with notable insights into issues of race, sexuality, and class. Everything comes together in an entertaining satirical jumble of plot and characters from different walks of life. The setting and context are a “hurricane party” at David’s (Pete Davidson) father’s mansion. Given that everyone involved is in their twenties, the atmosphere is decidedly unprofessional and experimental. The beauty of the writing is in the way that conversations filled with contemporary slang like “triggered” and “toxic” reveal something more profound about contemporary American culture. And the West, to some extent. The title both alludes to and describes the game played at the party after David’s murder. Rachel Sennot deserves kudos for being the most interesting and witty character. First-rate entertainment with lots of laughs and an insightful artistic core are what make Bodies, Bodies, Bodies so compelling.

Ready or Not

Although Chef Slowik wasn’t intending to play a game per se, you could interpret his actions as such. Grace, played by Samara Weaving, enters the le Domas family as a newlywed with high hopes for love and acceptance. It’s the first night back after everything that happened. In its place, however, she is thrust into a high-tech game of life and death. And that’s not a figure of speech. Grace’s very survival hangs in the balance on her next move. When do we have to resort to killing to stay alive? In Ready or Not, much of that violence is played out in Grace’s ongoing arguments with various members of her family. Similar to The Menu, Ready or Not invites its guests with the promise of an unforgettable experience before delivering something entirely different. A possible follow-up means now is a good time to dive in.

Glass Onion

A tech mogul has invited the best detective in the world and his old crew of friends to his private island to solve a murder mystery. Sure, sign me up! The Netflix original series Glass Onion: A Knives Out Mystery is not based on Elon Musk, despite popular belief. It’s understandable why it might, though. The holiday season has certainly added some cheer to your screens this year. With the promise of escape from mediocrity in tow, a group of attractive, flawed, and morally corrupt people assemble in a single, isolated location at Rian Johnson’s command and under Benoit Blanc’s hawkish eyes to solve a murder. Yes, they undeniably do. Glass Onion guarantees that you will leave the theater laughing and smiling thanks to Johnson’s boundless wit, Craig’s charisma, and the finely tuned performances of a blockbuster ensemble. The plot is realized with a cunningness reminiscent of A24. Watching Blanc do detective work is fascinating.

The Last Supper

The ’90s were all about Cameron Diaz. Not many Hollywood actresses back then could match her combination of physical attributes and charisma. The presence of Diaz ensured the film’s financial success. Things are great as a viewer, but they’re fantastic when you get a concept as appealing as The Last Supper. Similar to The Menu, this abrupt shift in tone results from a conflict of worldviews. The left simply cannot take any more of the right’s outlandish and hilarious commentary on the state of politics and the economy. Our intrepid five only need a lick of blood to realize they need to press on. As a viewer, you get to feel the same kind of tension that you did while watching The Menu. The sense of foreboding isn’t quite as intense, but the vibes are identical. The Last Supper’s satirical value is just as high and will provide you with plenty of fodder for thought. It is an evergreen film because of its revolting story and timely appreciation of relevant themes.

The Hunt

These days, movies about the rich and their games are more extreme than ever. This display could be the result of years of pent-up anger and resentment. The Hunt is like being given a Black Mirror episode by time travelers from the future. Twelve unknown people are forced to fight for their survival in this terrifying scenario. The Hunt has comedic elements as sharp as those in The Menu, but it is not primarily a horror film. Instead of being a depressing, zero-sum game, it’s a fun ride with genuine laughs, trust me. That, too, though the former may get more attention in the film. There is more to The Hunt than first appears. The scope and depth of creator Craig Zobel’s vision require at least two viewings. His commentary displays an aggressive assimilation of American culture and values. While The Hunt’s satirical tirade occasionally goes too far, it never stops being funny.

Would You Rather

In movies, there is no limit to how much torture is acceptable. If the artist is skilled enough, they will not stop until they have exhausted all possibilities. Would You Rather uses a cautiously exploratory approach. The film presents a new angle on the subject, even if, in retrospect, most of the choices look like misses rather than hits. Perhaps unlike Iris in Would You Rather, the diners at Hawthorn were not given an out when they were being mistreated by the chef and staff. In order to save her brother, Iris must overcome impossible odds in the classic party game. These obscene competitions between the wealthy and the poor bring to mind the Squid Games. The ending of Would You Rather may not sit well with some viewers, but that shouldn’t stop you from giving the game a shot.

Cabin in the Woods

When they went to see Cabin in the Woods, no one was expecting “that” to occur. One of the smartest and cleverest quips of the craft in this genre, this twist and its treatment in the film are brilliant. In light of the impending end of the world, the humor in this stands out. Starring Chris Hemsworth, Kristen Connolly, and Anna Hutchison, among others, the plot follows a group of friends who plan to spend their vacation at a remote cabin in the woods but are soon disturbed by the discovery of a sinister secret. As we make our way deeper and deeper into the cabin’s basement, we enter a terrifying new world populated by mercenaries, ghosts, and your worst nightmares. The final verdict from the creators is even more damning.