This is “one of those” stories (more motivation than action) about how Michelin stars are awarded and why chefs want them so badly. Unlike, The Hundred-Foot Journey, the antagonist here is the protagonist’s own past; sure, there are rival restaurants but he needs to re-prove himself. The props, including cooking, are highly technical and completely real. Any perceived lack of interpersonal drama or plot development is due to the movie’s focus on a visual depiction of the intense demands (e.g. precision) of culinary subculture. While I didn’t come away from this film vicariously feeling the main character’s person victories or defeats as strongly as expected, I learned a lot that enhanced my appreciation for restaurant management and it was far more entertaining than an informative documentary about the art of cooking. In fact, I now find movies about chefs far more enthralling now that I understand what’s at stake for anyone pursuing a career in the culinary arts.
How to describe such a unique fantastical premise…
Entire societies are mobile; each hierarchical city functions within its own feat of engineering (think interlocking collapsible compartments). These giant robotic apparatuses roam the globe vying for power, forcibly assimilating anyone who gets in their way. The plucky young heroes could easily have been in The Maze Runner!
Until now, such an imaginative book series couldn’t have been adapted for the screen. Fortunately, The Peter Jackson specializes in bringing fictional worlds to life via intricately detailed sets and props enhanced by state-of-the-art computer animation.
What’s a struggling salesman to do when his new car– the key to improving slumping sales– gets stolen? All the charisma in the world won’t help John Cummings retrieve it from the chop-shop if the police are more focused on catching the crooked garage owner than finding an individual vehicle. Cummings wants to provide for his family but as his obsession with retreiving his stolen property grows, taking matters into his own hands jeopardizes more than his own safety.
The cool thing about Film is its ability to explore what should’ve/ would’ve/ could’ve been… two parallel stories– one more preferable than the other– each play out toward the same end. Was the outcome inevitable despite the circumstances?
The depth of the story drew me in and made me want to follow the main character further. Too bad this wasn’t a TV pilot! To cast a movie that could so easily have been yet another formulaic action flick was no small feat; actors we’ve seem before were wisely utilized for their specialty while being given enough room to break out of their characatures. Moreover, their experience and professionalism allowed the seamless fusion of cultures to tell a story that’s a genuinely fresh perspective on the balance between Justice and Revenge.
You never realize just how formulaic the movies you typically watch truly are until you see something completely unique, such as this one. Considering how eager studios are to remake everything, I’m surprised this wasn’t of interest to anyone. It’s probably just as well; they would likely turn it into a slapstick comedy. I’m sure […]
The fact that there’s nothing particularly groundbreaking or mind-blowing would normally be a strike against a movie; but this particular caper seems to be an homage to Guy Ritchie’s signature style, rather than a knockoff. As closely as anyone could base a movie on a major British news story, several old professional thieves team up to procure retirement funds. But don’t be fooled; though they only steal from the filthy rich and never kill anyone, none of them could be compared to Robin Hood. The young’un of the bunch has specific recruiting criteria: “Now the way I see it, this is an old school gig. And needs an old school crew.” However, as one of the first of the reluctant hires points out, “There’s old school and then there’s just… old.” According to the actor who plays him, “People should see this movie because this is what your granddad was up to when you weren’t looking.”