Back in 2015, DC Comics released the riveting eight-issue limited series, The Kitchen. With Warner Bros. having a field day with its DC properties of late—from Joker to Wonder Woman and of course, Aquaman, it is no wonder hopes were high for bringing The Kitchen to the big screen.
The new to Blu-Ray, DVD and digital download film chronicles how a trio of women (Melissa McCarthy, Tiffany Haddish and Elisabeth Moss) took it upon themselves to take control of their own fate when it seemed nobody was looking out for them. Their other-halves were incarcerated or otherwise unable to help. Bills were piling up, children need food, clothes and other items and the “family” who their husbands work for aren’t stepping up to help as they promised when these ladies’ men were sent away.
These mob wives do the unthinkable. They decide to get into the family business themselves. As painted in Andrea Berloff’s directorial debut, this catches everybody by surprise. At first, their husbands’ bosses are surprised in a “isn’t this cute” manner. Then, the titanic trio start doing a little too well and that is when their exceptional work starts to rub the mob bosses the wrong way. Berloff not only helmed the project, but also adapted the graphic novels into a screenplay that sadly, leaves a bit to be desired. This film should pack a wallop of a punch, and instead simply exists. It is well acted, which elevates an average mob film into something a wee bit more entertaining.
McCarthy is a force of nature as Kathy Brennan, essentially serving as the leader who rallies her fellow mob wives into action when they realize no one is going to help them and therefore, they must help themselves. Fresh off her Oscar nominated turn in the true story of Lee Israel, Can You Ever Forgive Me?, the comedic actress (who first grabbed our attention in Paul Feig’s classic Bridesmaids) should not surprise anyone with her dramatic mettle in The Kitchen. Yet, it still does impress us that the former Groundlings member packs such a punch that would strike fear in us if we ever had the misfortune of crossing McCarthy’s Brennan.
Haddish, who has been cleaning up as a comedienne in films such as Girls’ Trip, Nobody’s Fool, Uncle Drew and Night School. Her turn as Ruby O’Carroll should put casting directors on notice. Again, few should be surprised by this, but comic thespians have a long history of triumphing in the dramatic realm of things—from Tom Hanks to Robin Williams. But with Haddish, her O’Carroll is a pure product of the 70s. As the actress plays her, her presence, power and unwavering belief in herself and her two cohorts and what they can achieve when they work together, it is wholeheartedly inspiring.
Then, there’s Moss. After blowing us away in Mad Men and even stealing scenes from Jonah Hill and Russell Brand in Get Him to the Greek, there should be little surprise when her talent rises and grabs us by the lapels. Earlier this year, she marveled in Her Smell (which could, and should, earn her an Oscar nod) and with her turn in The Kitchen, it should add up to one incredible 12-month run for the actress. Instead, the latter film will likely get lost when it comes to looking back on the year that was for Moss.
Why exactly did The Kitchen miss the mark? For one, there was a lack of cohesion when it came to bringing what worked on the DC Comics page to the silver screen.
All the elements for what this guy adores about the art of film are there. Terrific premise, incredible cast and supporting ensemble that includes Domhnall Gleeson, James Badge Dale, Brian d’Arcy James, Margo Martindale, Common and Bill Camp. Also, it’s not like Berloff cannot pen a compelling script. Her previous efforts include the Oscar nominated Straight Outta Compton and World Trade Center. Toss in the element of female empowerment, especially in a film whose era was not too kind to women pushing envelopes, and The Kitchen should cook.
When the credits roll on the film, not enough through-line plot connections come to fruition. Overall the narrative feels convoluted and sadly, even possesses moments where the mind wanders—a surefire hindrance for a mob flick. The ending is something that had to be earned and unfortunately, the sum of all of its parts just did not add up.
It’s not all doom and gloom, thankfully. Due to McCarthy, Haddish and Moss, it’s a thespian trifecta of electric performances that—at times—elevates the material (as great actors and actresses can be prone to do). Then, there’s the look of the film. Production design by Shane Valentino not only gave us that well-tread 70s look to the movie, the creative genius went deep, allowing his director to have numerous options to wield her camera from wide shots to close-ups. Each will firmly feel like the dirty, grimy 70s come to life.
The bonus features are an interesting lot, adding layers of resonance to the film experience itself. Taking Over the Neighborhood focuses on what we just chronicled—the aesthetic that could not have been more impeccably captured get the spotlight in this featurette. Director Berloff, comic writer Ollie Masters, Ming Doyle (comic artist) and producer Michael DeLuca wax poetic about the stunning work of the set crafters and the actresses chime in and it becomes clear that the practical set they worked on each day contributed mightily to their creativity.
Running Hell’s Kitchen is a nine minute piece that explores the origins of The Kitchen—the comics. The same crew who added insight in the previous featurette add more of their entertaining and enlightening insight to how the artistry of Doyle and Masters hung heavily over the set. We also cherished the inclusion of all involved’s thoughts on graphic violence and that beloved subgenre of motion picture—the mob movie.
Film Grade: B-
Bonus Features: B