The Menu Motphim | Must Try
One course involves a suicide pact. Another involves a barrel of shortcuts. The film never relies on jump scares; it relies on the quiet dread of watching a dozen entitled people slowly realize that their money has no power here. What Doesn't Work (Minor Quibbles) The Supporting Guests: While the archetypes are funny (the entitled "I eat for free" critic, the oblivious finance bros), they are one-note. We don’t mourn them; we simply wait for their comeuppance. A bit more depth to the "foodie" couple might have added weight.
The Menu viciously skewers foodie culture, art criticism, and capitalist ennui. The joke isn’t that the food is bad; it’s that the guests don’t taste anything. They photograph their breadless bread plates. They nod knowingly at dishes that are pure performance. When the chef explains that Tyler’s biggest sin is not gluttony, but lack of talent (he can’t actually cook despite his obsession), it lands like a hammer.
The answer is a five-star slaughter.
Without spoiling, the final “s’mores” course is visually stunning and thematically perfect. However, the logistics of how the staff gets all 12 guests to sit still for their immolation stretches credulity. You have to accept the film as a fable, not a documentary. The "Motphim" Context (Important Note) You asked for a review of "The Menu Motphim." Motphim is a third-party website known for hosting pirated, low-quality streams of movies, often with intrusive pop-up ads and malware risks.
If you watch The Menu on Motphim, you are ironically participating in the very culture the film despises: consuming art without paying for it, reducing a chef’s (or director’s) labor to a pixelated, ad-ridden window. The Menu Motphim
The Menu is a film about texture, sound design, and visual composition. The crackle of a searing scallop, the glint of a chef’s knife, the wide shots of the Pacific Northwest—these are lost on a pirated stream. Watch it on in at least 1080p. Pay for the meal. Final Verdict The Menu is the rare horror-comedy that sticks its landing. It is a revenge fantasy for service workers, a wake-up call for pretentious gourmands, and a deliciously wicked thriller. It asks a simple question: What if the chef actually hated you?
In a film full of insufferable diners, Margot is the only working-class person in the room. She doesn’t care about "deconstructed emulsions." She cares about survival. Taylor-Joy plays her with a feral intelligence; watching her dismantle the chef’s psychology with a simple request for "a cheeseburger to go" is the most cathartic moment in cinema this year. One course involves a suicide pact
What starts as a pretentious parade of "molecular gastronomy" quickly curdles. As the courses progress (from "The Island" to "The Mess" to "Man's Folly"), it becomes terrifyingly clear: tonight’s menu is not about food. It is about punishment. And no one is leaving. Ralph Fiennes’s Magnum Opus: Fiennes delivers a career-best performance as Chef Slowik. He is not a screaming Gordon Ramsay parody. He is soft-spoken, exhausted, and dead-eyed—a man who has achieved godlike culinary perfection only to realize he hates everyone he serves. His monologue about the "mess" of a cheeseburger is both hilarious and heartbreaking.