A friend enjoys food-related films, so what can I say, I went along to see Burnt despite its almost uniformly terrible reviews. Therefore my first observation is that the end product is nowhere near as bad as those suggest. Of course it’s still essentially that — Hollywood product, albeit set in London and ticking off a lot of the tourist views of that city — but it coasts by on the charisma of its lead actors, all of whose work I enjoyed even if they’re hardly stretching themselves. If it’s a “comedy”-drama, then the comedy is in the broad strokes; I wouldn’t call it laugh-out-loud funny or anything. It’s more of a character study of one borderline-unstable man trying to find himself by learning to work with and trust other people. The film’s greatest weakness then is undoubtedly in the screenplay. The characters are stock and overly familiar (Gordon Ramsay is an executive producer, and Bradley Cooper’s Adam Jones isn’t far from his own carefully-constructed and endlessly-repeated media stereotype of the highly-strung rebellious bad-boy chef). The exposition, too, is wretchedly clunky, with characters like Omar Sy’s sous-chef Michel expected to recount their past dealings with Adam when meeting him, so as to catch us all up (oh sure, Adam’s drink/drug-fuelled youth is called on as a reason why this is necessary, but it’s a thin veneer). There’s lots of tedious to-do about Michelin stars, which as someone who used to care about such things when eating out is boring enough (I’m so done with tasting menus by the by), but will surely be of less than no interest to the rest of us (Jon Favreau’s Chef dealt with street food last year, which may not have been any less predictable a script, but it was at least a more likeable milieu). Worst of all is Adam’s hackneyed character arc, plotted out with plodding predictability, as he learns to work with others, repair his relationships, learn to temper his controlling behaviour, blah blah blah. But it all looks very nice, the actors have an easy charm, and I quite like workplace dramas even if every plot point here is punctuated by food p0rn.
NEW RELEASE FILM REVIEW Director John Wells | Writer Steven Knight (based on a story by Michael Kalesniko) | Cinematographer Adriano Goldman | Starring Bradley Cooper, Sienna Miller, Daniel Brühl, Omar Sy | Length 101 minutes || Seen at Cineworld Wood Green, London, Saturday 7 November 2015
Let’s be honest, I didn’t exactly hold high hopes for this film, which at times has seemed more interested in creating brand partner synergies for commercial tie-ins, than being actually-any-good as narrative entertainment. Sadly that seems to have been the legacy of Spielberg’s (still quite excellent) Jurassic Park, though it’s hardly something it invented — just that it managed to tap into an enthusiasm for dinosaurs that remains largely unabated over 20 years on. Still, even given that, I remain confused as to why there was an ad before the film for a Lego tie-in. There was no room in the movie for the aforesaid product because it’s a 12-rated action film for a good reason (CGI-created dinosaur terror and mayhem; certainly the human characters weren’t much more than ciphers). Anyway the film’s clear product-placement winner was Mercedes-Benz, just for that smash cut to a perfectly-framed car ad angle of their vehicle after one of the kids says the line “you wanna see something amazing?” Oh to imagine how excited their execs must’ve been when they saw that. Just thinking about such a scenario really brought on some serious feels (not all good, let’s be honest); certainly it prompted more emotions than when a bunch of human dudes were eviscerated in the film (would that they were marketing executives eh).
I could go on about how this cartoonish dehumanisation of violence is an effect of the kind of corporatised culture which was surely intended as a point of satire in the original, but has long since been subsumed under the creature effects and merchandising. However, whatever baggage I might (not unreasonably I feel) load this franchise up with, the thing is that Jurassic World was quite an entertaining ride. Chris Pratt retains an easygoing charm, even if his relationship with prickly park boss Claire (Bryce Dallas Howard) remained little more than a doodle in the corner of a page credited to FOUR screenwriters. Perhaps the tenacity with which Claire manages to perform at high speed on all terrains while never shedding (or breaking) her high heels should therefore be applauded as some kind of feminist triumph, but I’ll stop short of that. Still, the kids-in-peril weren’t too annoying, while Irrfan Khan as a wealthy industralist (an heir of sorts to Richard Hammond) and Omar Sy as the French dino-wrangler were nice smaller roles, even if there was no one who could measure up to Jeff Goldblum. And on the whole the mayhem was coordinated rather well, even if it did rip off some of the setpieces almost wholesale from the original film, to lesser effect.
So for a Summer blockbuster it just about works, I just don’t expect to be revisiting it with any warmth in 20 years’ time.
NEW RELEASE FILM REVIEW Director Colin Trevorrow | Writers Rick Jaffa, Amanda Silver, Derek Connolly and Colin Trevorrow | Cinematographer John Schwartzman | Starring Chris Pratt, Bryce Dallas Howard, Vincent D’Onofrio, Irrfan Khan, Omar Sy | Length 124 minutes || Seen at Genesis [2D], London, Tuesday 16 June 2015