This is NOT a review of The Menu. I have not seen The Menu. I do not PLAN to see The Menu in the future. If you try to tell me how great a movie it is, I will tell you that I don’t do thrillers, I’m happy my initial concern that he was planning to make gourmet Soylent Green ISN’T part of the plot (it’s not, is it?) but a movie where the staff is just going to kill everybody for being elitist jerks despite how little I care for elitist jerks is not something I want to watch. Unlike when I defend my review of trailers and press releases I can see where the confusion would lie so I am telling you straight up I am not reviewing the movie.

What I am doing is using a recent review of the movie by The Critical Drinker (so expect swearing in the video but he keeps the gory parts out of it) of The Menu, a movie he very much enjoys, thus proving he enjoys something other than Tatyana the…adult entertainment specialist and a tall scotch. I’m using it as a springboard to a larger discussion of the connection between critics and the audience with the artists who make our entertainment. I was listening to the Literature Devil‘s Morning Nonsense stream this morning when he and his guest hosts were analyzing the movie and the Drinker’s review, but they’ve seen and also enjoyed the movie.

It’s the Drinker’s analysis that I’m focusing on here because watching the review got some of my wheels going from an external perspective outside of the movie. Watch the review (again, cursing but no gore) and then I’ll explain what I mean.

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