Taron Egerton in ‘She Rides Shotgun’. Photo: Lionsgate.
‘She Rides Shotgun’ receives 7.5 out of 10 stars.
Opening in theaters on August 1st, Nick Rowland’s crime thriller ‘She Rides Shotgun’ stars Taron Egerton as a newly released convict who must reconnect with the daughter he hardly knows while fleeing a powerful white supremacist drug ring.
(L to R) Ana Sophia Heger and Taron Egerton in ‘She Rides Shotgun’. Photo: Lionsgate.
The story of a man trying to find common ground with a family member they barely know while also on the run from either A) the cops B) dangerous criminals or C) both is hardly the newest one within the crime thriller genre. But it’s all about the execution.
Fortunately, ‘She Rides Shotgun’, which has been all but dumped in theaters with almost no fanfare despite starring Taron Egerton, is much better than its treatment might suggest.
Script and Direction
(L to R) Ana Sophia Heger and Taron Egerton in ‘She Rides Shotgun’. Photo: Lionsgate.
Co-writer/director Nick Rowland, working with Jordan Harper (on whose novel the movie is also based), Ben Collins and Luke Piotrowski, has crafted something compelling and watchable, that, while it may travel a largely predictable road, is infused with enough truth, grounded action and surprise to make it worth seeking out.
And Rowland, who previously made ‘Calm with Horses’, shows a real grip on how to bring a story such as this to the screen and keep it visually interesting –– helped by the moody, dramatic backdrop of New Mexico.
The shootouts feel painful and honest, and while the big finale is certainly loaded with drama, it doesn’t lose sight of the characters.
Cast and Performances
(L to R) Taron Egerton and Ana Sophia Heger star in ‘She Rides Shotgun’.
This type of movie flounders if you don’t have a believable dynamic between the main characters, but here Egerton (who is typically great) and Hager have true chemistry, building slowly as Polly’s feelings towards the man she barely knows as her father flourishes and she finds her strength.
Credit also to the likes of Rob Yang as the police officer trying to help Egerton’s ex-con (albeit with his own agenda) and John Carroll Lynch, who plays a violent, psychotic drug kingpin.
Final Thoughts
Ana Sophia Heger in ‘She Rides Shotgun’. Photo: Lionsgate.
A solid script with just a few predictable moments and excellent performances by the cast add up to a surprising small gem of a crime thriller that deserved better treatment than this.
This is one that may well find its audience when it hits streaming.
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What’s the story of ‘She Rides Shotgun’?
The movie follows Nathan “Nate” McClusky (Taron Egerton) and his daughter, Polly (Ana Sophia Heger), on an emotional and terrifying road trip across New Mexico as Nate tries to escape his own past — or at least to protect his 11-year-old child from paying for his mistakes.
Along the way, driving a series of stolen cars from seedy motel to seedy motel, they take shocking risks, survive daunting threats, and become profoundly close.
Polly musters courage and insight well beyond her years, and Nate displays vulnerability and fortitude he didn’t know he had.
Who is in the cast of ‘She Rides Shotgun’?
Taron Egerton as Nate McClusky
Ana Sophia Heger as Polly Huff
Rob Yang as John Park
Odessa A’zion as Charlotte
David Lyons as Jimmy
John Carroll Lynch as Houser
‘She Rides Shotgun’ opens in theaters on August 1st. Photo: Lionsgate.
(L to R) Taron Egerton and Ana Sophia Heger star in ‘She Rides Shotgun’.
Moviefone recently had the pleasure of speaking with Taron Egerton and Ana Sophia Heger about their work on ‘She Rides Shotgun’, Egerton’s first reaction to the screenplay, Heger’s character’s relationship with her father, and what it was like for the two actors to work together on set.
You can read the full interview below or click on the video player above to watch our interviews.
(L to R) Ana Sophia Heger and Taron Egerton in ‘She Rides Shotgun’. Photo: Lionsgate.
Moviefone: To begin with, Taron, what was your first reaction to reading the screenplay and what were some of the aspects of your character that you were excited to explore on screen?
Taron Egerton: I was very moved by the screenplay, and I felt that these were two people that I felt that I knew and really cared about. So, when something that is that compulsively readable, but also feels real in a way that you believe they’re real people, that’s very compelling. It’s a compelling prospect to inhabit one of those roles. I love that he’s nothing like me. I love that he’s seems like one thing but is another. You know, it’s so often in life, there’s such a truth, I think, in life with where things will seem at first glance, unfriendly or unwelcoming in some way, and with a little bit of effort, a little bit of engagement, that’s quickly demonstrated to not be the case. That’s often my experience of the world anyway, and I love that Nate encapsulates that. He’s a man that when you first meet him, you assume who he is very quickly and some of those assumptions are probably well deserved, but the core of him, the heart of him, is good, and I love that about him.
MF: Ana, can you talk about Polly’s estranged relationship with her father, how that grows through the course of the film, and what it was like creating that relationship with Taron?
Ana Sophia Heger: Well, so in the beginning of the movie, you see that they obviously haven’t been together for five years, so they don’t really know each other. They must go through all these crazy things together that throughout the movie, they just start bonding. I just thought that was special and it was. It was easy bonding with him because he’s nice in real life.
(L to R) Ana Sophia Heger and Taron Egerton in ‘She Rides Shotgun’. Photo: Lionsgate.
MF: Finally, Taron, what was your experience like working with Ana on this movie?
TE: Look, we just connected very easily and very quickly, and I think we both felt it was very easy for us both to feel that the story was important. When it feels important, it feels like it’s no longer about you, it’s about the project. Then you gain a lot of energy for free. That’s the truth of it. It’s when the project feels more important than anything that you have going on, it all starts to happen very easily in my experience, or more easily. You just get a lot of free energy. I think we both really cared about Nate and Polly’s story, and we wanted to really do it justice and although they’re not real people, they felt real to us. We wanted to do the best job we could playing them. So, I think the abundant emotion in the piece came quite readily in this situation and that’s not always the case.
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What is the plot of ‘She Rides Shotgun’?
Nate (Taron Egerton) tries to make a fresh start after his release from jail. However, he is forced to go on the run from his enemies with his daughter Polly (Ana Sophia Heger), who has grown up without him.
Who is in the cast of ‘She Rides Shotgun’?
Taron Egerton as Nate
Ana Sophia Heger as Polly
Rob Yang as Josh Park
John Carroll Lynch as Houser
Odessa A’zion as Charlotte
David Lyons as Jimmy
‘She Rides Shotgun’ opens in theaters on August 1st. Photo: Lionsgate.
Premiering on Paramount+ March 26th is the new spy thriller series ‘Rabbit Hole,’ which was created by ‘Focus’ directors John Requa and Glenn Ficarra.
What is the plot of ‘Rabbit Hole?’
In ‘Rabbit Hole,’ John Weir (Kiefer Sutherland), a master of deception in the world of corporate espionage, is framed for murder by powerful forces with the ability to influence and control populations.
Moviefone recently had the pleasure of speaking with Kiefer Sutherland about his work on ‘Rabbit Hole,’ the new series, his character, working with the writers, and why he wanted to do the show.
Kiefer Sutherland stars on Paramount+’s ‘Rabbit Hole.’
You can read the full interview below or click on the video player above to watch our interviews with Sutherland, Charles Dance, Meta Golding, Walt Klink, Enid Graham, Rob Yang, and series creators John Requa and Glenn Ficarra.
Moviefone: To begin with, can you talk about returning to the espionage thriller genre after ’24,’ and what was it that Glenn Ficarra and John Requa told you about the series to get you excited about doing it?
Kiefer Sutherland: Well, they referenced movies that I really admired and loved growing up watching as a young person. Those movies were ‘Three Days of the Condor’ with Robert Redford, Dustin Hoffman in ‘Marathon Man,’ ‘The Parallax View,’ and ‘The Fugitive.’ So once they told me about that, the thriller is a genre that I love working in, and I’m a huge fan of them as writers and directors. They started describing John Weir as a character, and then the thing they touched on almost out of the gate was that this character would go from being the hunter to the hunted in a matter of moments, and that he was then spending the rest of the series running for his life and trying to prove his innocence. That was a very dynamic shift, and any time you can take someone and make them go 180 degrees in the other direction, it gives an actor a lot of room to work and makes that character very vulnerable. So just in that first discussion, I knew it was something that I really wanted to do and I was grateful that they called me first because I don’t think anybody would’ve said no. I was just thrilled to be a part of it, and when I got the script, I was certainly not let down. I thought it was fantastic and couldn’t wait to get started making it. Now I’m finally at a place where I can’t wait for people to finally see it. But we’re very proud of it.
MF: Did you receive scripts for the entire season, or are you going one script at a time while you’re building your character?
KS: We got about half the season up front and then got the other half as we went, which was a lot better than any other experience I’ve had before because television, normally you’re writing as you’re working, which makes making the show very complicated. So it was very nice actually to have half of the material in advance. Then they’re just really beautiful writers in the sense that they can deliver the plot lines and the big ideas, but they’ve also got such subtlety and nuance. One of the really nice benefits for me with this character is that he has a sense of humor, finally. So the romantic, kind of sarcastic banter between Meta (Golding), who plays opposite me is just really special. It’s also something that I don’t normally get asked to do. So it was a lot of fun for me.
MF: Finally, can you talk about John Weir’s background and how he got to the place where we find him at the beginning of this series?
KS: Well, I think he has a number of skills, but I think his understanding of the human psyche is really important. So it allows him to run scams on people that allow them to believe that the market is going in one direction, when in fact it’s not. He can manipulate technology so that the truth is what he wants the truth to be, and he uses that to his advantage to help the companies that are employing him. Very quickly in the first episode, that is turned on him and he again goes from the hunter to the hunted and is literally running for his life.
(L to R) Arturo Castro, Aimee Carrero, and Mark St. Cyr at ‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
The acclaimed movie, which was directed by Mark Mylod, centers around a young couple (Taylor-Joy and Hoult) who travel to a coastal island to eat at an exclusive restaurant where the famed Chef Slowik (Fiennes) has prepared a lavish menu, with some shocking surprises.
The event was held at a Blockbuster Video Pop Up on Melrose Avenue, and served cocktails inspired by the characters in the film, as well as Chef Slowik’s “To Die For” burger and fries, which were featured prominently at the end of the movie.
‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
In attendance were actors Arturo Castro and Mark St. Cyr, who along with Rob Yang as Bryce, play Soren and Dave, respectively, who are Slowik’s greedy business partners. Also appearing at the event was actress Aimee Carrero, who portrayed Felicity, the assistant to John Leguizamo’s movie star character.
Moviefone had the pleasure of sitting down with Aimee Carrero, Mark St. Cyr and Arturo Castro at the event to talk about their work on ‘The Menu,’ their characters, the ensemble cast, director Mark Mylod, and if they are surprised by the success of the movie.
Aimee Carrero at ‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
Moviefone: To begin with, what was it like for you as actors to be a part of this incredible ensemble cast?
Aimee Carrero: Well, it was like a play and we shot it in sequence, which is such a gift and so rare. What’s cool about the cast that Mark Mylod put together is all of us come from theater for the most part. So, we’re all used to being together, doing the same thing many times over, and just the stamina that it requires to do the same thing over and over again, not knowing where the camera is and still keeping the energy up, and still keeping it really fresh. So, I was really lucky to have a partner like John Leguizamo and have Judith Light, I mean a theater legend, Ralph Fiennes, another theater legend, and Janet McTeer. I mean, I could go on and on.
So, it was amazing. The first day I was really intimidated, but then I remember being in my trailer and thinking, okay, the only way you can mess up this job is by feeling intimidated. You got to go in and know you belong here. You can have something to offer the story. So, I gave myself a little pep talk, but nobody made me feel that way. I mean, everybody was just wonderful and so nice. It honestly felt like doing summer stock theater camp or something. It was just so much fun.
Arturo Castro: Even the days that you didn’t have lines, you had to be there. There was one scene where it’s John Leguizamo and Ralph Fiennes and they’re going at each other, and then the lines end and they start improving with each other. I remember being there. I’m like, I wouldn’t have believed you had you told me that one day I would have front row seats to watch these masters go at it. The movie had a few moments of such gratitude that I felt my chest was going to burst. So yes, it was like theater in that sense, but also just for an audience of twelve, it was wonderful.
MF: Was Ralph Fiennes intimidating to work with?
Mark St. Cyr: He takes his craft very seriously. So, when he’s there to work, he is there to work. In a way you end up being very grateful for it because he sets the tone for the whole set. Everybody’s like, “Hey, let’s treat this as a sacred opportunity while we’re here.” Then Ralph is great when he is not on set. He’s very relaxed, very generous and has a lot of fun. But when you’re there, man, he’s locked in.
Arturo Castro: He’s intimidating in the sense that the man didn’t mess up a line once, not once! One time he went, “I’m going to take that back.” He hadn’t even messed it up. He just took it back one time. I’m like, you can’t set the bar that high Dude. You got pages and pages of dialogue, and we’re fumbling like three lines a piece every five minutes. That was the intimidating part. He just said the bar too high.
Aimee Carrero: Ralph is an OBE, Order of the British Empire. He’s a theater actor. So, I was expecting someone very formal, and he’s not at all formal, which is really nice because we were all a little buttoned up when he walked in. I mean, we’d met him at a rehearsal and a lunch and stuff, but everybody’s like, there’s Ralph Fiennes.
But he was so approachable. He was so funny. He just is a curious person and wants to know about your life. So, he’ll be like, “So tell me about your husband. How did you meet your husband?” I’m like, “Really? You want to know this? You’re Ralph Fiennes, don’t you have other things to talk about?” But I think that’s what makes him a great actor, he’s really interested in people and asks people things. So, he was just a joy.
(L to R) Arturo Castro and Mark St. Cyr at ‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
MF: Arturo and Mark, once you were cast, how quickly did you guys get to meet Rob Yang and figure out the dynamics of your three characters?
Arturo Castro: I didn’t meet these guys till I went down to Savannah. But the first day we met, we sat around discussing the script and me, Mark and Rob went out to drink. That was the dynamic, and then we started kicking it from there. We just rode the wave.
Mark St. Cyr: I met Arturo, but I didn’t know who the third Tech bro was at that time. Rob wasn’t there, so we weren’t complete until we did the table read.
MF: Can you talk about the challenge of humanizing these otherwise despicable characters?
Arturo Castro: We all know people like this, and I think there’s more than the two-dimensional factor of it. I think for me it was about people that have made something of themselves, but they come at it from a resentment point of view. Like, “Now I’m on top, so I get to be the guy and you get to feel bad because I’m on top.” These are people that have felt belittled for one reason or another, or that they had imposter syndrome and they are overcompensating on the other end. That’s how I humanize them.
Mark St. Cyr: I think that’s interesting, what you just said about how they feel like they’re on top now. Maybe they were on the bottom before because that table is all minorities, which I thought was interesting as they very easily could have cast all the tech bros as white. So in a way, you kind of get to watch the entitlement attitude that comes with having a ridiculous amount of money at your disposal. I think there are a lot of men that just prioritize money above all else. Money is important, but above all else can do some weird things to you.
MF: Aimee, John Leguizamo has publicly said that he based his “movie star” character on Steven Seagal, who he had an unpleasant experience working with on 1996’s ‘Executive Decision.’ Did you know that was where he was pulling his inspiration for the character from when you were filming?
Aimee Carrero: No. In fact, I thought he was going for a Johnny Depp thing because of the scarf, because he had that little scarf on. But he actually said that during our press junket in November when the movie was going to come out. I remember him being coy about not saying who it was, and finally half way through the junket, he was like, “Honestly, it was based on Steven Seagal.” He just said it. I was like, oh my God.
But no, in fact, I thought he played the movie star with a lot of heart. I actually felt bad for him at times. So, maybe that was his detached, delusions of grandeur kind of thing definitely coming through. But yeah, it’s funny because whenever actors are portrayed in film, it’s always so over the top and kooky. But he chose the route of, this could be an actor or it could just be a guy who’s really full of himself and no one’s ever said no to him.
MF: Aimee, without giving anything away, I felt that both Felicity and Anne, played by Judith Light, did not deserve the outcomes they received. Do you agree with that, or do you think they got what they deserved?
Aimee Carrero: Well, it’s funny because Judith and I talked about that. We talked about the idea of if you’re not making the problem better, then you’re making it worse. I think maybe out of all the people in the restaurant, they deserve to die the least. I don’t think that they were as bad as the other ones. But I think in Felicity’s case, because her mother ran a big studio, she got a job there, she was stealing money, she had no student loans.
I think part of it too, from the writer’s perspective, there has to be a catharsis that the audience feels when they’re having to pay their student loan every month, to watch someone who didn’t have to suffer that meet their end, in a funny way, it has to be cathartic. But I don’t think she was as bad as the other ones. But it does spark a question in my mind, is it okay to just not be that bad or do we have to be good?
(L to R) Arturo Castro and Mark St. Cyr at ‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
MF: Finally, what was your experience like working with director Mark Mylod on this project, and were you surprised by the success of the film?
Arturo Castro: We were just talking about it and we feel like it comes in waves. When it came out in theaters, then it came out on HBO Max, and now that it’s on Blu-ray and DVD, so we’re just incredibly grateful. If I may say about Mark Mylod, every morning he would get to set, he would have a team meeting and he would have such humor and grace to what we were going to do for the day. He just set the tone really early in the morning for what the day was going to be. It helped tremendously for morale. So, now that people actually like it, it’s just incredible.
Mark St. Cyr: I would say about Mark, to me, he’s the most incredible director I’ve worked with, and I don’t say that to flatter him. But one of the things that really stood out for me was that he learned the name of every background artist we had and he called them by name. There were takes where they had an important storytelling moment, whether it was crossing or they had to do something. He would check in with them by name and be like, was that good for you as well?
I’ve never seen that on any set that I’ve ever been on. He really invited creative collaboration and there were times when the background artist would let him know, “Hey, there was this thing that didn’t go according to the plan, just want you to be aware of it.” It made the project better because everybody felt like they had a sense of contribution and ownership.
Aimee Carrero: He’s a dream come true. So, I knew his work. I’d never met him, but I watched all of ‘Succession,’ even before I knew I was auditioning for this. So, I’d seen that and lot of the ‘Game of Thrones’ he directed. What I didn’t know about Mark was that he started in comedy, so he did a lot of comedy before he moved into that prestige TV. That was really cool because I knew from jump that it was important to him to bring out the levity in the movie, which is a dark, black comedy. But he was amazing because I think he also was really honest. Being a TV director helps you just be like, “I’m not going to beat around the bush, this is what I need,” which is so helpful.
But also aside from that, he’s a deeply talented person, and he kept the set super light and just really supportive. So we’d get the takes as written, and then he’d always give us a freebie take. So we’d improvise, and a lot of the improv made it in. That whole bit with John and I, when he was like, “I gave you a bad recommendation to Sony.” And I said, “I know, you CC’d me on it.” That was improv. So, they kept a lot of that, which is so cool. Sometimes you don’t have the space to do that, especially if you’re on a tight budget. This was not a huge movie as far as budget goes, so time is money and he would always take the time to make sure that everybody got to do what they felt good about.
What I’m surprised by is how many people were interested in seeing it. We obviously knew we were in a dark comedy, but you’ve got to play it for real. For some reason I thought we were making this art house thing. But people were so excited to see this movie. What surprised me more than the theatrical release was when it hit the streamers. There were all these people that maybe didn’t feel comfortable going to the movie yet because of COVID, or maybe have young children. So, many people saw it on streaming, and I’ve seen more of that now than when it was in the theater. So, that was really cool.
Listen, it’s always a surprise when anything you do, people like. I’ve done a lot of clunkers, so it’s amazing anytime you get it in a movie and then you like the movie, and then people like the movie and you have a good time, that’s lightning in a bottle.
(L to R) Arturo Castro, Mark St. Cyr and Aimee Carrero at ‘The Menu’ Blu-ray release party at the Blockbuster Pop Up in Hollywood, CA. Photo: Dan Steinberg Photography.
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The new dark comedy ‘The Menu,’ which was directed by Mark Mylod (‘What’s Your Number?’), opens in theaters on November 18th. Produced by Adam McKay (‘Vice’) and Will Ferrell (‘Spirited’), the film takes an exaggerated look at celebrity chefs and “Foodie culture” and in doing so, serves up one of the best movies of the year!
The story follows Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult), a young couple that travels to a private island to experience celebrity chef Julian Slowik’s (Ralph Fiennes) acclaimed restaurant, Hawthorne. The restaurant specializes in molecular gastronomy, with everything grown on the island, and treating the food more like conceptual art.
Other guests at the dinner include food critic Lillian Bloom (Janet McTeer), her editor Ted (Paul Adelstein), a wealthy couple (Reed Birney and Judith Light), a movie star (John Leguizamo) and his assistant (Amiee Carrero), and three “Wall Street-type” investors (Arturo Castro, Mark St. Cyr, and Rob Yang). But the dinner soon takes a terrible turn when the guests realize that they were all invited for a nefarious reason, and that Chef Slowik plans to take make an example out of all of them.
While not a mystery per se, ‘The Menu’ reminded me a lot of ‘Knives Out,’ which is ironic since that sequel is being released next month on Netflix. But instead of being a “Whodunit” it’s more of a “how will it be done” type of story since we know from the beginning that something is not right about this island restaurant and Chef Slowik’s intentions. The tone of the film is dark, but it is also quite funny, with the humor coming out of the awkwardness of the social situation the characters are in.
The film also has a lot to say about class, wealth, and the social media enhanced celebrity worshiping world we all find ourselves now living in. While the lead characters have names, you will notice many of the other characters are only known by their titles like Leguizamo’s “Movie Star” character. I would imagine this was done on purpose by the writers to establish the idea that what they represent is more important than who they really are.
Originally set to be directed by Alexander Payne (‘Sideways’), Mark Mylod ended up making the film and it’s by far the best of his career, making him a director that I would keep my eye on. He balances the different tones of the film masterfully, and moves the camera around the restaurant and kitchen with ease, as if we were actually there, adding to the mystic of the film. The set design is also impressive, with a fantastic modern tone and colors popping off the well shot and gorgeous looking food.
However, it’s the characters and performances that really make the movie worth watching. The supporting cast is excellent, even in their somewhat limited roles. John Leguizamo perfectly captures the insecurities of a falling movie star, while Aimee Carrero pulls a lot of sympathy as his assistant, Felicity. Arturo Castro, Mark St. Cyr and Rob Yang also portray their “Wall Street Bros” characters well and add to the drama of the film. Veteran actress Judith Light (‘Who’s the Boss?’) also shines as a wealthy wife just realizing that her husband is a cheat.
But of the dinner guests, Janet McTeer is absolutely unforgettable as food critic Lilian Bloom, and deserves Oscar consideration for Best Supporting Actress. McTeer brings just the right mix of upper-class snootiness and superiority to the role. Veteran actor Paul Adelstein (‘Prison Break’) is very funny as Bloom’s editor and yes-man, Ted. Actress Hong Chau from ‘Downsizing’ also gives an Oscar-worthy performance as Slowik’s bossy assistant Elsa, who will do anything to please the Chef.
Nicholas Hoult’s role as Tyler is the weakest spot for me, but I don’t think it was the actor’s fault. The character is not as well written as the others and struggles at times to stay as interesting as the other characters in the scene. But ultimately the character is revealed to be not as nice as he seems, and the actor does his best to layer that throughout his performance.
In the end, it’s Anya Taylor-Joy and Ralph Fiennes performances that make the film work, and the exploration of their characters’ interesting relationship. Taylor-Joy gives one of her best performances to date as the over-her-head Margot, who’s only chance at survival is to show the Chef her authentic self.
Fiennes is absolutely commanding in the role and carries the movie’s dark comedic tones and pacing with ease. While his actions could easily be labeled “crazy,” the actor is almost able to convince the audience that the Chef is in the right, which is quite impressive given his motivation and actions. Fiennes also has great chemistry with Taylor-Joy, and the connection between the two characters really resonates.
Without giving anything away, I did have an issue with how the film ended up treating a few characters that I felt didn’t completely deserve their outcome, namely Light and Carrero’s characters, who seemed more like ignorant accomplices than the actual “terrible” people Slowik wants to punish. Yet it seems like that was the point, that someone can be held responsible for someone else’s actions just by being complicit themselves.
In the end, ‘The Menu’ is a fun and fascinating movie that explores class, wealth, and the strange social media and celebrity driven society that we all live in. With stunning directorial work from Mylod, and excellent performances from Fiennes, Taylor-Joy, and the supporting cast, ‘The Menu’ should have a good shot at several nominations this coming awards season.
