Send It Back to
the Kitchen
By Chris Sabga
All
too often, "Burnt" feels like a sequel to a movie that
never happened. When the backstory is more interesting than the
events we actually see in the film, that's a problem.
Adam Jones (Bradley
Cooper) is a celebrity among chefs – he's considered the "Rolling
Stones" of the culinary world – but he disappeared from the
Paris restaurant scene three years earlier for all the usual reasons:
bad behavior, drugs and alcohol, being an asshole. One of his
drunken/assholish acts was to set rats in a competitor's restaurant
and then call the health inspector. His self-imposed penance: peeling
oysters in a New Orleans dive while detoxing from meth, booze, and
women. His comeback takes him to London, where every single person he
ever wronged in Paris now magically resides. Quite the trip!
Hopefully they got a group discount.
Tony
(Daniel Brühl) owns a restaurant. More accurately, his father owns
it. Adam needs a job. They can help each other.
Adam's
pitch: if he's hired as the head chef, he'll turn the restaurant
around – and Tony can finally make his father proud. Tony agrees,
but only if the temperamental chef undergoes weekly drug testing from
a doctor (Emma Thompson, making the most of a small role).
Adam
knows he'll need cooks. He recruits single mum Helene (Sienna Miller)
and former rival Michel (Omar Sy). Along the way, he'll have to
contend with a rival restauranteur (Matthew Rhys) and a finicky food
critic (Uma Thurman, putting on a delicious English accent in a small
cameo).
Adam
Jones is a chef in the grand tradition of Gordon Ramsay – he
violently clangs pots and smashes plates across the room. It's his
passion for perfection, you see. And yet, ironically, he's not above
eating at Burger King. He explains why, in one of "Burnt's"
more memorable scenes, and outlines his philosophy in the kitchen.
The
quest of every great chef is to earn three Michelin stars. How a tire
company became the foremost
authority on food is beyond me, but its ratings are legitimately the
culinary equivalent of winning an Oscar or Pulitzer. Michelin's
methodology is always the same – at least according to this movie:
an "anonymous" critic will come in, carefully
place a fork on the floor, order only half
a glass of water, and other such
nonsense along those lines. Wow,
what normal, unnoticeable
behavior – they sure know
how to blend in!
Before years of hard
living, Adam used to "look like an angel." Was this part
originally written for Mickey Rourke? That's the only way that piece
of dialogue makes any sense. It isn't nearly as believable when
talking about Bradley Cooper. Then again, his character does
have a bit of facial hair, which in Hollywood means you're living on
the edge!
Despite that, one
character still has lingering feelings for him. I won't say who, but
"Burnt" might have been more interesting if it had gone in
that direction. At least it would have been an unexpected development
in a film with very few of them.
Foodies
beware: there is nothing
appetizing or glamorous on
display here. This is a dark
and gritty look at life inside a kitchen. What's
on the plate definitely takes a backseat. There is nothing wrong with
that, necessarily, but even
the omelets
look boring. No peppers? No onions? No seasoning? I guess we're
supposed to believe the chef has such magical hands that he can make
even plain, dull eggs taste like a slice of nirvana. Okay, maybe.
(Silver
Screen Sister did notice that the yolks were more orange in color. Is
that how eggs look in England or did someone in the editing room have
a little too much fun with the color timing?)
I
suppose that's appropriate, because the movie has the consistency of
runny eggs. The performances are rock solid and the characters
are interesting, which makes it all the more a pity that the story is
far richer off-screen than on. While there are certainly
positive aspects to appreciate here, keep in mind that cold pizza
still tastes good too.
Perhaps "Burnt's"
biggest sin: I wasn't even hungry as I walked out of the theater.
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