The first thing I thought about with the horror black comedy The Menu is what famous film critic and pun enthusiast Gene Shalit would do with this title and setup. He’d say, “Don’t send this one back to the chef,” or, “I’ll have seconds,” or, “Book your reservation now,” or any number of bad jokes (fun fact: Shalit is STILL alive and 96). Regardless, The Menu is an excellent main course for fans of dark comedies and biting satire. It’s not really scary or thrilling, even if it borrows liberally from the structure of contained thrillers. A dozen wealthy guests are selected for a once-in-a-lifetime dining experience from a legendary chef (Ralph Fiennes). The story is a balancing act of mysteries, with what is happening on this secluded island, each new course on the menu and what it reveals about its chef and his intentions, why each of the couples is present and what troubles they have, and why our head chef is so fixated on Margot (Anya Taylor-Joy), a last-second replacement date for arrogant would-be foodie, Tyler (Nicholas Hoult), and who she really is and whether she belongs here or not. Part of the wicked fun is watching things escalate and the characters freak out, or try and rationalize or bargain through the experience. I was chuckling throughout the movie, tickled by its sardonic humor and the excellent heightened performances from its ensemble cast. Fiennes (The King’s Man) is locked-in as his enigmatic yet intensely dedicated chef, so much so you might admire him while also being creeped out. His annoyance and cold disdain for the guests is a constant source of entertainment, especially a scene where he insists that the know-it-all foodie put on a chef’s robe and try his hapless hand at actual cooking. Hong Chau (Downsizing) is terrific as a no-nonsense sous chef simmering with barely concealed contempt. Her pronunciation of “tortilla” is one of the movie’s biggest laughs. With The Great and now this, Hoult is finding a great stride in playing outsized egotistical buffoons. By the end, I was left wanting a little more in the way of answers or catharsis or even its class conscious commentary, but The Menu still packs plenty in its 105 minutes to be an appetizing experience.
Nate’s Grade: B+
Alexander Payne is not exactly the first name you would think of when it comes to science fiction. The man has a history of road trip comedies, average Midwestern men, mid-life crises, and the colorful miscreants of society. The fact that the director of Sideways and The Descendants is tackling The Incredible Shrinking Man is a bold move. Payne is outside his comfort zone with Downsizing, and it shows at points. While never quite satisfying the possibilities of its premise, Downsizing is still worth watching for its memorable moments and for the sheer brilliance of one outstanding performance.
In the not-too-distant future, science has developed the technology to shrink human beings to five inches tall, approximately 1/100th of their size. A middle-income couple can live like the top one percent because their money goes further. Paul Safranek (Matt Damon) is a schlubby, regular guy suffering from the ennui of a job he hates and a life that feels unfulfilled. He and his wife, Audrey (Kristen Wiig), decide to undergo the downsizing procedure, which is irreversible. Paul’s wife backs out at the last minute but he doesn’t find out until after he’s gone small. Now with a McMansion all to himself, Paul has to readjust to what he thought his new life would be like. He moves into a condo and shirks the offers to join the parties of his hedonist neighbor, Dusan (Christoph Waltz). Paul finally decides to live life and embraces new experiences, the biggest befriending Ngoc Lan Tran (Hong Chau), a one-legged Vietnamese cleaning lady who was downsized against her will for being an overseas political activist. Paul feels drawn to this woman and she opens his eyes to the larger world around him.
The strangest part of Payne’s movie is that the main thrust of the story could have been told without all of the science fiction dross. This is very much a romantic comedy/drama that follows the formula of a man jilted at the altar who has to get his life back together, finds someone new who changes his perspective on life, and then they get together by the end. You could have plucked this story and set it in an ordinary world and it still would have worked, which begs the question whether the world of Downsizing is properly applied. The consumer commentary seems muddled, with the rationale for downsizing being helping the planet, reducing the population so to speak, but really it’s an escape into a fantasy of wealth. People are downsizing so they can live in luxury and leisure. This should set up Payne for his incisive brand of satire as he skewers the selfish and self-righteous foibles of mankind, except that doesn’t really happen. Sure, eventually in the second half the movie opens up its tiny world a little wider, revealing the not-so-hidden subculture of immigrant labor toiling away to keep everything stable and pretty. It’s obvious social commentary and rarely does it go a step further than just recognition. And so the film becomes another in a long line of movies about a man who must be shaken from his malaise and enjoy the possibilities of life he never knew existed. Downsizing eventually ignores its sci-fi conceit to tell a relatively ordinary tale of self-actualization.
Payne’s premise would have best been explored through the more open parameters of a television series. Downsizing is an interesting concept that leads to other natural questions over how this tiny world operates and also how it interacts with the larger community. There’s a small scene where a drunk overhears Paul’s plan to shrink and argues that little people shouldn’t be granted the same voting rights as “normal-sized” citizens. The normies contribute more to society and should be given more credit, he argues, before being shooed away. This political division could have made for an interesting topic of reflection itself, but like many of Payne’s pit stops, it comes and goes after whetting your appetite for further examination. What about a story where downsizing is a punishment to do away with the “undesirables” of a nation? A TV series would have allowed more room to explore, with finer nuance, the details and possibilities of this fanciful world. Payne allows his movie to breathe, taking extended jaunts on different ideas but rarely enough to satisfy your sense of curiosity. The last act takes place at the original downsized colony in Norway, though at their diminutive size I wonder if it took them months to travel in Dusan’s yacht. It’s meant to think about what will come after humankind has passed the point of no return when it comes to climate change. Paul has to rethink what he wants his legacy to be and what meaning his life will have, which then pushes him into a rather simplistic choice of go with the girl or the cause. Given the rest of the movie’s focus, you shouldn’t be surprised what decision he ultimately makes.
However, the real reason you should legitimately see Downsizing is for the astounding, star-making, can’t-take-your-eyes-off-her performance by Hong Chau (Inherent Vice, Big Little Lies). I cannot recall another movie where a character comes in at the halfway mark and just takes over completely, single-handedly lifting the movie up. Every moment she is onscreen is made better. You’ve never seen a character in a mainstream movie quite like Ngoc Lan Tran. She’s a political dissident, amputee, and lower-class cleaning woman who teaches Paul about the class divides. Tran is tragic, comic, caustic, lovable, and Chau is an acting revelation. I’ve read several reviews that found her to be a cringe-worthy, borderline racist depiction of an Asian woman meant to be laughed at, and I strongly disagree. At no point was I laughing at Tran because of her status, her ethnicity, or her broken English cadences. I was laughing because she was a force of nature that blew away the pretensions of others, that cut to the chase, and spoke her mind in a carefree and honest manner. Her matter-of-fact affectations are so perfectly delivered in accordance with the character’s personality. There are moments where her character is being set up for one thing and Tran goes entirely in another direction, and whereas you might have laughed at the start she surprisingly earns other emotions. Take for instance a scene where Dusan tries to ditch her by making an excuse about a sudden travel commitment. Tran takes this moment and turns it into a genuinely poignant monologue about the unexpected nature of fate. By the end she’s crying out of sheer elation, and those tears are not meant for ridicule. Downsizing realizes what an asset it has and makes her the deserved focal point of the second half. You’ll fall in love with her too. Chau doesn’t just deserve an Oscar nomination; she deserves to win everything.
Downsizing is an episodic high-concept comedy where the shrinking is irrelevant to the main storyline that evolves over two plus hours. This is an adult movie that explores some mature topics with surprising time and scrutiny, and then it can also be a simplistic rom-com that misses the mark on larger, Swiftian social satire. It’s another story in a long line of disaffected, middle-aged men finding their groove again, except then it becomes the story of a Vietnamese activist and her unique persona. Hong Chau is the reason you should see Downsizing above all. She doesn’t so much steal her scenes as just take full ownership over the back half of the movie. Her performance is so uniformly excellent that you wish the rest of Payne’s uneven movie could meet her commitment. There are a lot of ideas here that seem to get brushed aside for the conventional formula of a romantic union, even if the pairing is rather unconventional. Downsizing is an entertaining movie that doesn’t quite amount to more than the sum of its little parts.
Nate’s Grade: B