Review: ‘The Kitchen’ is adapted from the DC Vertigo comic book series by the same name. The premise of the film promises to be an interesting one, even though it is strikingly similar to Steve McQueen’s 2018 film ‘Widows’. What’s more there are three solid actresses to draw from – Melissa McCarthy as Kathy, Elizabeth Moss as Claire and Tiffany Haddish as Ruby. And each one’s life is very different from the other– Kathy is the loving mother and doting wife, Claire is physically abused by her husband, and Ruby’s life is stuck between a caustic husband and an even more caustic mother-in-law. But saddled with dull, lacklustre writing and direction, 'The Kitchen' is an overall letdown. Sure, the setting is New York’s Hell’s Kitchen in 1978 but you can’t be blamed at times if you think if you’re watching a parody film on that era, with all the possible clichés thrown in.
Even the character graphs are unconvincing especially Claire’s who turns from being abused and scared to a cold blooded killer in a matter of minutes. In fact, the crux of the film, the manner in which the three ladies suddenly transform into these seemingly cool and ruthless mobsters themselves, calling the shots is delivered without any nuances. Though a couple of dialogues stand out and a romantic subplot just about makes the cut, the screenplay on the whole is mostly predictable and doesn’t hook you. In fact, the plot conflict of what happens when the three husbands return earlier than expected could have been turned into an interesting play of power, but it’s nearly at the end and dealt with in a matter of minutes.Also, at no point does one feel totally involved with the characters, even though there are a few double crosses to rustle up a couple of surprises and many bloody shoot outs added to the mix.
‘The Kitchen’ perhaps intended to be a rousing film on women power and expression, but it barely touches that chord. What’s left is a film that doesn’t engage.
Even the character graphs are unconvincing especially Claire’s who turns from being abused and scared to a cold blooded killer in a matter of minutes. In fact, the crux of the film, the manner in which the three ladies suddenly transform into these seemingly cool and ruthless mobsters themselves, calling the shots is delivered without any nuances. Though a couple of dialogues stand out and a romantic subplot just about makes the cut, the screenplay on the whole is mostly predictable and doesn’t hook you. In fact, the plot conflict of what happens when the three husbands return earlier than expected could have been turned into an interesting play of power, but it’s nearly at the end and dealt with in a matter of minutes.Also, at no point does one feel totally involved with the characters, even though there are a few double crosses to rustle up a couple of surprises and many bloody shoot outs added to the mix.
‘The Kitchen’ perhaps intended to be a rousing film on women power and expression, but it barely touches that chord. What’s left is a film that doesn’t engage.
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