You can tell Mark Mylod is a signature director for Succession because he has a certain speciality, a knack for framing a different strata of the ultra-rich who walk on rarefied air and must all be duly punished for what they have taken from others.

There are those who take and those who serve after all, in this thinly sketched culinary universe. There is the workers inside this haute cuisine culture and the people who are hungry to swallow their excess.

With humor and grace, especially afforded to Anya Taylor Joy and nobody else, Mylod is able to be incisive and specific — able to conjure something like the infinite party or feast of Buñuel where the surrealism and the motifs meet more explicitly and literally down the middle.

The film, as you’ll immediately note, is shot beautifully. It is a nice well decorated set, has the advantage of the pretty water-backgrounded setting and modern kitchen design which provides one open space wherein there’s a clear spatial division between the class conflicts at play.

When the food is served up, it is also shot elegantly. Each dish is afforded a luxuriant film shoot to really capture the angles and the meticulous design of the food. The food is also very clearly all designed for the matter of filming it, clearly not prop food, but actual culinary interests can be satiated here.

And the film wraps neatly around its themes and it’s cast and does what you think it’s going to do. My friend Matt said it was “the best Vincent Price film made since his death,” and that’s the truest thing I’ve read about it, and continued that someone should have made such a movie with him, as he was a gourmet himself, which is triply true.

I love the construction here. Perhaps because my partner and I are foodies — on a massively dwindling make-it-at-home budget and only get to eat our own food. What is afforded to us, instead of a night out without our kid, is a quiet night in and a movie we can both feel something about. This is a good ticket for that purpose.