Movie Review: The Kitchen

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Streaming Movie-
The Kitchen ** / *****
Directed by: Andrea Berloff.
Written by: Andrea Berloff based on the comic book series by Ollie Masters and Ming Doyle.
Starring: Melissa McCarthy (Kathy Brennan), Tiffany Haddish (Ruby O'Carroll), Elisabeth Moss (Claire Walsh), Domhnall Gleeson (Gabriel O'Malley), James Badge Dale (Kevin O'Carroll), Brian d'Arcy James (Jimmy Brennan), Jeremy Bobb (Rob Walsh), Margo Martindale (Helen O’Carroll), Bill Camp (Alfonso Coretti), Common (Gary Silvers), E.J. Bonilla (Gonzalo Martinez), Myk Watford (Little Jackie),Wayne Duvall (Larry), Pamela Dunlap (Mary), John Sharian (Duffy), Brian Tarantina (Burns), Will Swenson (Michael Mariano), Annabella Sciorra (Maria Coretti), Bernie McInerney (Paul Hogan), Sharon Washington (Estelle), Matt Helm (Colin), Angus O’Brien (Mark Williams).
 
The Kitchen is a movie that feels like the entire first season of a television show crammed into 100 minutes. It could be a good TV show – the cast is excellent, and some individual scenes work, but overall the movie lacks any real flow or coherence. It feels like a lot of character development and plots points are happening off-screen, between scenes, and so in every scene you have to reorient yourself to whatever the new reality is based on how the actors are playing it. The film is based on a little known DC comic, but it seems to want to cram in an entire run into one film – instead of perhaps something that work better, like being an introduction to the series – an origin story. It’s the type of movie that gives you whiplash, because it jumps around so much
without much in the way of rhyme or reason.
 
The film takes place in 1970s Hell’s Kitchen – and focuses on three wives of some fairly low-level mobsters. When their husbands are sent to jail for three years, and the “family” doesn’t give them much in the way of support Kathy Brennan (Melissa McCarthy), Ruby O’Carroll (Tiffany Haddish) and Claire Walsh (Elisabeth he Moss) decide they’re going to take over the protection racket in Hell’s Kitchen. You would think this would be a complicated process, but no – not really. They simply go door-to-door and tell the businesses that they’ll play them now, and they say okay. While this does spark a war of sorts with the current boss – Little Jackie – it doesn’t last very long (the way it ends is truly one of the more bizarre, out-of-the-blue moments in any movie I can think of). Soon, they have some muscle in the form of Gabriel (Domhnall Gleeson) – a veteran with some mental issues – who falls in love with Claire. Claire goes from meek domestic abuse victim to full blown psychopath is record time. And Kathy and Ruby figure out that there are actually really good at running things – and don’t plan to back down for anyone, not even each other.
 
There’s more – a lot more – plot in The Kitchen, and dozens of minor characters that the movie wants us to keep straight and care about, despite the fact that they are barely introduced by the time some of them are murdered. There are rogue cops and FBI agents, dozens of minor gangsters, Hasidic Jews, Italian mobsters from Brooklyn, the three women’s husbands, and one of their mothers (Margo Martindale), who apparently is very well respected by the “family”, although we don’t know why. All of this robs the films of what could have made it so interesting – Claire’s transformation into the psychopath she becomes, how Ruby, a black woman, navigates the Irish dominated Hell’s Kitchen that basically hates her, and how Kathy goes from full on school mom, into a powerful, intelligent gangster. When you’re adapting anything for another medium – especially one that has the freedom to tell its story over a longer period of time, you have to boil it down to its essentials – figure out what the main thrust of what you want to say is. The Kitchen plays as if it wanted everything, all at once. And as a result, nothing really works.
 
And all that is a shame, because I would have loved to see a movie where the trio of talented leads – McCarthy, Haddish and Moss – really got to stretch out and take over. There is enough there is each performance to suggest that each could have easily done that, if given the chance. But writer/director Andrea Berloff tries to tell way too much story, so almost none of it works. Perhaps a miniseries would work – or a TV series. But as it stands, The Kitchen is a giant, unsatisfying mess.

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