Gangster movies have almost always taken a very male outlook, but now it’s time for the women to run the show. Cleverly titled, “The Kitchen” refers to 1970s Hell’s Kitchen, New York, and sees Melissa McCarthy, Tiffany Haddish and Elisabeth Moss band together to survive in this dangerous “man’s world” that doesn't want them to be a part of it.
When their husbands are caught during an armed robbery and sent to prison, Cathy (McCarthy), Ruby (Haddish) and Claire (Moss) take drastic action to put food on the table in a community that sees bullets fly and bodies dismembered limb by limb. Each facing their own obstacles, it’s only a matter of time before the deadly game catches up with them. Adapted from the Vertigo comic-book series and marking screenwriter Andrea Berloff’s directorial debut, does The Kitchen serve up a treat or should it have never left the pass?
The Kitchen receives a critical thrashing upon its domestic release last month - but rather unfairly, in my eyes. While Andrea Berloff's debut is no doubt a flawed feature, it is still a thrillingly brutal and surprising crime drama which marries genre conventions and cliches with the new female angle to tells its story in a way that injects something fresh and exciting into the sub-genre. It has battled a rocky post-production process and its scars show but without excusing The Kitchen’s rough editing and unbalanced pacing too much, it remains and operates as a tough and mean genre piece with more than enough that impresses to make up for its flaws.
You might be hesitant to call this an empowering film as film's with more than one female lead often are, because the women play as dirty as their male counterparts ever did. Berloff’s screenplay doesn’t shy away from the cutthroat behaviour and blurred morality of its leading women - but smartly infused is enough empathy and compassion for their situation to create something with more brains, and importantly heart, than it may be given credit for. Exploring the way in which their femininity (and, in Haddish's Ruby's case, race) can be turned from a weakness into a strength allows themes of self-worth, ownership and taking charge of oneself to come to the forefront and texture this gritty crime drama. Kathy, Ruby and Claire all weather various personal storms that develop effectively alongside the group dynamic and it's fascinating to watch it evolve. It packs in enough surprises to keep audience members engaged throughout the 103 minutes, with many bound to lap up the narrative diversions that shock and excite with every turn.
Berloff’s direction is undercut by the aforementioned rushed editing, which frequently condenses important scenes into all-too-brief montages at the expense of more substantial arcs. But from a visual standpoint, Berloff’s worldbuilding is impressively visceral: immediately you sense the danger of this grimy world the viewer is plunged into with real depth, elevated by Maryse Alberti's cinematography. Overhead shots manoeuvre us through Hell’s Kitchen, using location and space to further our context and familiarise ourself with the world and, as the film progresses, enhance the danger - almost as if the walls are closing in around them. It all feels very real, which is as high of a compliment as you can pay a film like this. Enhanced by strong production and costume design across the board, it also features a strong soundtrack and score from Bryce Dessner: using “It’s a Man’s Man's Man’s World” in the opening sequence immediately introduces the emotions and messages at the heart of the screenplay, while "The Chain" and its moody musings always help affirm a film's tone.
Melissa McCarthy, who began her career in drama before breaking out into comedy, proves once again, on the back of her Oscar-nominated performance in Can You Ever Forgive Me?, that she should be taken seriously as an actor. McCarthy digs deep and provides a layered and nuanced performance which combines confidence and swagger with brief glimpses of a fear that threatens to overwhelm but are largely kept under control -- until a stunning final few moments in which she delivers some of her best work. She peppers in enough humour to make Kathy likeable without detracting from her more dramatic work, mastering that balance superbly. Even those still cynical of McCarthy her should find themselves impressed with her gutsy role here; she's absolutely tremendous as Kathy, anchoring a film that, with all due respect, needs anchoring.
Less successful in shedding her comedic persona in search of something more darkly dramatic is Tiffany Haddish; while not a complete failure by any stretch, Haddish is easily the weakest link of the three leading ladies, unconvincing in her line delivery and very clearly "acting". She comes across as a comic actor trying something new, and while we may admire the attempt, she's not nearly as capable in finding that footing. Inspired casting isn't always good casting and The Kitchen has two opposing examples of such.
Elisabeth Moss is arguably tackling the trickiest role here, harrowing in her depiction of a woman who finds herself now influenced by the abuse she's suffered so horrendously over the year. Major props to Moss for handling this character with as much ease as she does, mixing both fear and ferocity for her portrayal of Claire. Strongest within the supporting cast are Domhnall Gleeson and Margo Martindale, both big personalities who provide this representation of Hell's Kitchen with even more vibrancy.
Elisabeth Moss is arguably tackling the trickiest role here, harrowing in her depiction of a woman who finds herself now influenced by the abuse she's suffered so horrendously over the year. Major props to Moss for handling this character with as much ease as she does, mixing both fear and ferocity for her portrayal of Claire. Strongest within the supporting cast are Domhnall Gleeson and Margo Martindale, both big personalities who provide this representation of Hell's Kitchen with even more vibrancy.
The Kitchen is a scrappy little thing and I could not help but admire its effort. In all honesty, it would appear that studio interference tried to tank the picture - while it doesn't succeed, they're traces of a much stronger, more substantial film that have, unfortunately, failed to be fully realised in this cut. It's not through lack of trying and Berloff would have no doubt been more successful without outside influences controlling to process so clearly, but choppy editing and a rushed narrative do hold it back from greatness. Thankfully, she nails the worldbuilding, uses genre conventions smartly and allows her leads to shine, yielding fantastic performances from Moss and especially McCarthy in the process. It's dark, brutal, surprising, heavy but really quite fun, and while what The Kitchen delivers may not be to everyone's taste, there will be those of us you eat up every bite of this misconstrued crime-drama.
7.5/10
Summary: The Kitchen is a flawed but fiesty first-time feature that isn’t afraid to play dirty, presenting this gritty world and the women at the centre of it (exceptionally led by Melissa McCarthy and Elisabeth Moss) in frequently shocking, thrilling and thoughtful ways.
7.5/10
Summary: The Kitchen is a flawed but fiesty first-time feature that isn’t afraid to play dirty, presenting this gritty world and the women at the centre of it (exceptionally led by Melissa McCarthy and Elisabeth Moss) in frequently shocking, thrilling and thoughtful ways.