A chef with a sordid past shows up in New
Orleans being as obnoxious as he used to be in the kitchen. However, he has at least shaken the
destructive addictions that got him into trouble and has done self prescribed
penance by shucking one million oysters.
Now, he is ready to begin again—in London. When he gets there, Adam Jones (Cooper) gradually meets up
with a number of colleagues from the past, but no one is pleased to see him
because of the dastardly things he had done to them. Nevertheless, (the man has grit) he starts to
recruit the very people he had wronged.
It won’t be an easy road and he still has things to learn, but his
reputation as a chef and his charm (when he turns it on)—and sometimes
behind-the-scenes manipulation—will get him the people he wants in a restaurant
that needs rescuing.
Burnt
is a good title for the film as a metaphor referring to a mistake in the
kitchen, to friends and colleagues feeling burnt by Adam, and burning one’s
bridges before an exit. The film
is about the ups and downs of getting the restaurant, “Adam Jones at The
Langham”, on its feet and Adam’s try for a third Michelin star. Unfortunately, he yells at his staff,
is rude with everyone, and has temper tantrums when things aren’t perfect,
running the risk of losing valuable employees. (This over-the-top violent interaction reminds me of Director
John Wells’ August: Osage County of last year.) But Adam sees a therapist (Thompson)
and tentatively starts a supportive friendship to get his self on a better,
less destructive track.
One of the things I find very frustrating in
“food” movies is that we don’t really get to look at the gorgeous dishes
prepared. Isn’t that part of the
point in seeing a movie about gourmet restaurants? The editing of this film by Nick Moore is so jerky we never
get to admire the artful dishes that someone has slaved over; and the rapid
cuts from one scene to the next and zipping back and forth between two
characters’ simultaneous actions can have a dizzying effect. It may be that the filmmakers are
interested in showing us what really goes on in high-end restaurants—a lot of
yelling and throwing dishes across the room and at people—but I for one can
just as well do without that side of reality, if it is indeed a reflection of
reality.
Bradley Cooper does bring his acting skills to
the character, but the script makes him so repulsive, it’s hard to warm up to him. Adam does become more insightful and
respectful of others across time and lets go of some perfectionism, but
watching that much narcissism unleashed for most of the film is tiresome. The characters played by Sienna Miller
and Daniel Brühl provide good counterbalance to Adam’s abrasiveness, and they
are well cast. Likewise, Uma
Thurman and Emma Thompson bring extra sparks to their cameos. Another cameo by Alicia Vikander is
perfect as a woman who appears to be mysterious at first, but whose identity is
gratifyingly explained.
Somehow, despite all the talent involved in the
making of this film, Burnt just
doesn’t fill the appetite.
Burnt: Not a well seared production.
Grade: C- By
Donna R. Copeland
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