Directed By Andrea Berloff
Starring – Melissa McCarthy, Tiffany Haddish, Elisabeth Moss
The Plot – The wives of New York gangsters in Hell’s Kitchen in the 1970s continue to operate their husbands’ rackets after they’re locked up in prison.
Rated R for violence, adult language throughout and some sexual content
– Star-studded cast. Give credit to this trio of ladies, because they are making casserole out of dogshit. McCarthy, Haddish, and especially Moss are a continuous presence in front of the camera, and offer a combination of delightful exchanges between them, as well as the opportunity in portraying a role that is against type for them, was something that gave dimensions to these usually iconic comic faces. The best for me is easily Moss, who endures loneliness, everyday abuse, and a complete character transformation that stood as the only protagonist who I found myself getting behind for support. On the opposite of that, it’s not that McCarthy and Haddish’s characters are detestable, but rather the film gives them no ounce of empathy to make you truly invest in the predicament’s of their characters, and soon it becomes two seasoned veterans of acting who are emoting through these average human beings, who don’t offer a shred of relatability to bring out the indulgence in their character’s. Aside from this, surprising cameo appearances from Common, Bryan D’Arcy James, Margo Martindale, and the loose cannon rumblings of Domhnall Gleeson round out a production of big names, who colorfully express themselves within arguably the single most dangerous place in America during the 1970’s.
– Hard R rating. What I commend this film for is it doesn’t beat around the bush in its violence or graphic material, cutting straight to the pulse of the streets for better or worse to the integrity of the environment. Some of the deaths in the movie were so blunt and unapologetic that it felt conventional for the time period, etching out a level of brutal honesty that most films try to glamorize for the sake of pleasing a rating that accomodates more audiences. In addition to this, the language authentically replicates the mob mentality, complete with four letter words and stern threats throughout that serve as the only framing device where it feels like the script immersed itself as so much more than an entertaining film.
– Female empowerment. Even with a script that does little favors in getting to know and justify the actions of our female dominated cast, the angle of being a metaphor for female inspiration is one that takes some unusual turns. It turns out that anything men can do, women can do more gruesome, especially in the instant of Moss’ character working closely with Gleeson to dispose of a body. In addition to this, each of the three women strive to overcome someone who works to keep them reserved in their role as an obeying housewife, transforming themselves in the face of adversity as this trio of terror who keep moving through the punches of adaptability. This is certainly the easiest aspect that the film could’ve attained, but it’s nice to know that it doesn’t lose its charms anywhere in the sea of male faces that could’ve easily overstepped their boundaries where the film didn’t sell it that way.
– Fumbling direction. It’s clearly evident that this is a first time effort behind the directing chair for Berloff, because nearly everything is disappointing in her visual flare for the drama that practically removes itself from this story. From her disjointed level of storytelling, to her rushed character development and sloppily rushed pacing for the story, to the complete lack of conscience associated with the editing, that leaves it feeling episodic by its brunt dissection, this is a presentation that almost immediately takes you out of it from the first scene, and leaves you feeling so dejected from the lack of adversity that makes it easier for these ladies to takeover with very little speed bumps. On top of all of this, the inspiration given to these performances make it feel like a paycheck film, and one that shouldn’t be associated with something so vital to a female director directing a female empowerment film.
– Lack of believability. This film has no time to slow itself down and set the stage for the events that lands responsibility at these ladies feet practically overnight. Especially considering that this is 1978 in Hell’s Kitchen, New York, the lack of male dispute towards a female takeover is something that I grew more concerned with the longer the movie progressed, and in terms of a story of adversity, this one has practically none of it. These dangerous male mobsters sit back because business is good, and we’re supposed to believe that there isn’t a single bone of machismo beneath their gruff exteriors, leading to dangerous home lives where a fine level of suspense could easily be developed. No mob movie should ever showcase a takeover being this easy, but “The Kitchen” proves that the only heat coming from it is the momentum that slowly omits itself with each passing scene.
– Tonally inbalanced. Being that this is actually a comic book movie, it’s no surprise that there is an element of comic timing to off-set the seriousness of graphic material that paints itself throughout the film. The problem is the level of organic that these compromising tones don’t competently balance, leading to an environmental capacity which is every bit as forced humorously as it is compromising to the true urgency of the situation. A couple of laughs here and there are fine to cool off these very surreal deaths being shown to us, but too much can leave it searching for an identity, and in this case one it never finds. The cheesy dialogue also does it no favors in capturing an essence of vulnerability within the characters, and outside of McCarthy, the ladies never feel the weight of the circumstances that they’ve drawn to them within the heat of the neighborhood, thanks to their newfound inheritance of power.
– As a period piece. While mostly cohesive with that of the essence of 1978, there’s no sense of alluring style or compelling cinematography to truly sell the dated visuals as something entrancing. There’s never any effort made to transform the neighborhood into the proper day and age, where the barrage of signs and product placement find weight in a particular age of era. Beyond this, the only time when the script tries to establish itself in its designated year is during a bar scene involving some super sloppy sound mixing, which elaborates on the most basic of conversations involving Reggie Jackson and the New York Yankees. This is definitely a conversation that could and did exist in 1978, but the most obvious in terms of story location. It underwhelms at the one thing nearly every period piece today radiates with, and never duplicates the comic book appeal that comes with splashes of vibrant colors.
– Montage game. This is two reviews in a row where valued exposition is cashed in for musical montages, which visually rush us through a story that would better be served living through the events themselves. If done once or twice, fine, but this film has no fewer than five musical montages, complete with 70’s rock tracks which manipulate the audience into feeling like they are fine with such an abrupt shredding. In my opinion, this film never had a chance to succeed if it wasn’t interested in telling a complex story for at least two hours, and through a series of montages with a show rather than tell mentality, we get a taste for the juicy parts of the film which could’ve better progressed the pace of the events naturally, giving us characters and situations that feel grown rather than topical.
– Strange storytelling methods. There’s a lot to unload here, but I will keep it brief to limit spoilers. Two major things that bothered me about the script were the introduction of Gleeson’s character, as well as a second act twist, which limits the appeal that the story was going for in two such instances. For the former, the manner in which his character is introduced not only undermined his introduction, but also the scenario that was taking place in the heat of the moment. It felt like they were going for something with dramatic pull, but neither ever attributed to such an obvious direction competently. In terms of the second act twist, there was no set-up to it at all. It’s a surprise that nobody was wondering about, which comes out of nowhere and sells itself as a twist just because. Most of this goes back to the first time director being a reputable screenplay writer all of her life, not understanding how to telegraph the impacts of these scenarios in a visual capacity, taking something that looked good on paper, yet translated terribly in uninspired execution.
– Unnatural story pacing. This is within the story itself, and not the run time of the film overall. The husbands are given a three year sentence early on in the movie, and literally three scenes later (I’m not kidding), a whole year has passed in storyboard movements. If this wasn’t mentioned from Moss’ character, I would’ve never known this at all, and the lack of digestion for time that the film so ruthlessly ignores would make it feel like everything inside takes place within a matter of days. This is as disorienting of a watch as I have seen in 2019, and if the husband’s time was anything like the passing of time that takes place in this movie, then consider it was the easiest time that any criminal has ever endured.
My Grade: 3/10 or F