Aside from the ample amounts of black comedy and none-too-subtle satire, Fiennes’ performance in The Menu is what ultimately drives the narrative and makes Swolik such a memorable character.
Bones and All is for the faint of heart. However, if you’re willing to embrace the antiheroic nature as the allegorical baring of souls that it is, you will be handily rewarded with one of the finest love stories of the year.
Pearl is a surprising film not just in how it subverts expectations of genre, but also in its capacity for empathy. We all, like Pearl, have the desire to be appreciated. We know our worth. Ti West and company seem to understand that the true horror is never being able to show it.
While I am critical of Glass Onion for its disappointing comeuppance (coming on the back of a satisfying reveal to then suddenly breach the confines of the film’s perceived reality with a swelling conclusion that feels unrealistic and unfortunately alleviates vital guilt from characters who are still culpable), it becomes impossible to diminish the emotional satisfaction at watching this satire acknowledge the pending rage and frustration that the audience has for a large margin of the characters at its center.
The performances are nothing shy of brilliant, particularly Keke Palmer who manages to imbue Peele’s film with a vibrancy that excels beyond even his most alluring characters in works past. The resolution of the film does work to its detriment as it refuses to capitalize on interpersonal dilemmas that set the stage for thematic arcs.
The film is loaded with surprises, from the narrative structure right down to the characters. It isn’t gonna be everyone’s cup of tea, but adventurous fans who appreciate having their expectations repeatedly confounded might find this to be a slice of horror heaven.