The Kitchen: Film Review

The Kitchen: Film Review

Cast: Melissa McCarthy, Elisabeth Moss, Tiffany Haddish, Domnhall Gleeson, Bill Camp
Director: Andrea Berloff

Melissa McCarthy digs deep once again from the well of seriousness which served her so well and nabbed her an Academy Award nomination.

McCarthy stars as Kathy, the wife of an Irish mobster in Hells Kitchen in New York in the 70s. When Kathy's husband, along with his two co-conspirators, are jailed, Kathy, along with her friends Ruby and Claire (Haddish and Handmaid's Tale's Moss respectively) decide enough's enough and look to take over business.

But their desire to do the right thing and also make some money on the side puts them in the eyeline of the police and the Mafia.

The Kitchen's approach to drama is piecemeal at best.

Whereas Widows had dramatic heft, emotional bite and weight, The Kitchen flounders in comparison.

Sadly, by dipping in and dipping out of the characters, and even with a restrained McCarthy trying to build on Can You Ever Forgive Me, The Kitchen doesn't hit any of the straps it wants to.

Opening with James Brown's It's A Man's World over shots of NYC, as well as mobsters, it's clear that this is a male perspective and those in charge are determined to smash it. But underwriting, as well as scenes that fly by quicker than they should, those involved really don't know how to construct a drama that has tension and suspense.

Shouting stereotypes and with dialogue that's ham-fisted as the characters' so-called intentions, this attempt at gender-flipping falls massively short.

Humorous moments that are supposed to be dark and gallows are delivered with such heavy-handedness they fall flatter than they should or deserve to. There's a lack of nerve, and even moments of violence, brief as they are in their brutality, fail to deliver the punch they could have.

IT's almost as if The Kitchen were too afraid to go as dark as it could, to deeply enrich its characters and to blur the moral lines that the best gangster films do - because of that, it ends up feeling inconsequential, a waste of the talents within and a flight of empowerment that's grounded before it even begins.