Much like its main character, John Wells’ Burnt dares you
to like it. Composed of familiar plot
points and revolving around a truly unsympathetic character, this briskly paced
film initially keeps the viewer off balance as it plunges into its examination
of self-destructive behavior without a handshake or a “how do you do?” This is
a strategy intended to distract us from the pedestrian story screenwriter
Steven Knight has cobbled together and if anything nearly salvages the movie,
it’s the fine cast Wells has assembled.
Adam Jones (Bradley Cooper) is a chef who’s seen better days
but whose talent has never waned.
Described by colleagues as the equivalent of the Rolling Stones in the
world of haute cuisine, he just can’t seem to get out of his own way when it
comes to realizing his potential. Having squandered an opportunity years
earlier to make a name for himself – going into a self-destructive spiral of
drugs, drink and women – he’s returned to London to help resurrect a restaurant
owned by an old friend, Tony (Daniel Bruhl). Jones is in search of his third
Michelin star, the gold standard in the culinary world as critics from the
guidebook rarely award this designation (currently there are 114 restaurants in
the world with 3 stars; only 9 of them are in the U.S.) and getting a star or
losing one can make or break a restaurant.
Still, Jones’ arrogance knows no bounds and in his mind it’s
not a matter of if, but when he’ll be anointed. In his quest, he gathers
together some old colleagues, recruits a few talented rookies and has saucier
Helene (Sienna Miller) literally foisted upon him. As if the competing egos in
the kitchen don’t make for enough drama, Jones has two drug dealers on his
tail, to which he owes a great debt they’ll not forgo anytime soon.
As one would expect from a film of this sort, much screen
time is given to showing the preparation of the food and it’s all done in a
glorious manner that will leave you salivating, hungry for dishes you can’t
afford from restaurants you can’t get into. It isn’t food we’re looking at,
it’s art and Wells and his cinematographer Adriano Goldman present it in all of
its glory, effectively underscoring the amount of time and care that goes into
a dish that ‘s to be appreciated for its aesthetic appeal as much as its taste.
Burnt certainly does not go out of its way to dispel the
notion that chefs of Jones’ ilk are egotistical divas with the temperament of a
five year-old when he’s been deprived of a nap and told there are no juice
boxes left. If anything it goes out of its way to add fuel to that fire,
presenting Jones as a truly unlikable man who isn’t happy unless he’s in the
spotlight, whether its throwing a colossal fit or dazzling his patron’s
palettes with his newest taste sensation. Yep, he’s a big jerk and Cooper is
perfectly cast in the role. No one
projects arrogance the way he does as the actor carries a sense of entitlement
about himself like a second skin. There’s a sense that this role comes a bit
too easy for him.
The supporting cast is fine as well. Reteaming with Miller, his co-star in American Sniper, Cooper and the actress rekindle a kind of antagonistic
chemistry that works. Though slight physically, Miller has an inherent strength
and enough talent to convince us that her character can stand up to Jones and
that she won’t be blown off the screen by Cooper. Bruhl is excellent as always, underplaying
his role, finding the right tone to punch up a scene when needed. He’s
especially poignant when a secret about Tony and Jones is revealed. Emma Thompson and Uma Thurman are given
“blink-and-you’ll-miss-‘em” roles that will leave you wondering if they both
owed Wells a favor, their parts being so underwritten.
The solid work from the cast and a neat little
“out-of-left-field,” third act surprise keeps the film engaging and
entertaining throughout. However, you’ll
likely come to the conclusion that you’ve had this cinematic meal a time or two
before and that while the ingredients may be fresh, the result is the
same. In the end, Burnt isn’t a movie
bad enough to send back, but it’s hardly good enough to order it up again.
This article appears in Oct 29 – Nov 4, 2015.
