No Reservations
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Movie Reviews of No Reservations
Movie Review: Excellent movie
Summary: 5 Stars
excellent movie
I had seen it before buying it
good actors in the parts
chfancier
Movie Review: No Reservations
Summary: 5 Stars
Fantastic Movie with an unusual story to tell. Full of romance & great family entertainment!Movie Review: A Recipe for Life
Summary: 4 Stars
There's a light, good-hearted nature to "No Reservations" that's quite pleasing, if a little predictable. This is just as much a story of life as it is a story of romance, and we all know the formulas such films follow: a person's world is rearranged when someone new enters his or her life, and the laughter, tears, and conflict will be plentiful. I expected nothing less from "No Reservations," which is probably why I was able to enjoy it. This is a charming, funny, touching film that casts away any qualms about being formulaic, which is a good thing for anyone in need of romantic escapism. I don't dare question how realistic the events of the film are; this is not a film that bothers with realism, but rather with the idealism that life is supposed to work in a specific way. At times, it's a welcome diversion.
The plot concerns Kate (Catherine Zeta-Jones), the executive chef of an upscale New York restaurant. We immediately get the sense that hers is a very organized, controlled world; while not explicitly critical or demeaning, she is fiercely protective of what she's worked so hard for, namely her position at the restaurant. Here's a person that's strong on the outside but deeply insecure on the inside, exemplified by her inability to receive criticism (never complain about the food she prepares; you'll definitely regret it). For these reasons, she's ordered into therapy. She pretty much dominates her own sessions with incessant discussions on food preparation--appetizing, yes, but not exactly enlightening. Her therapist (Bob Balaban) is initially unable to ask any questions or give any advice. Clearly, she's afraid to let anyone examine her personal life.
Her world is turned upside down when her sister dies in a car accident, leaving behind a daughter, Zoe (Abigail Breslin). Because there's no father in the picture, Kate is now faced with the responsibility of caring for her. But will she know what to do? A child has never been a part of her life; being a chef is the only life she's ever known. She knows virtually nothing about Zoe, not even her favorite color. Furthermore, Zoe has lost her mother, meaning she'll need the extra emotional support Kate may not be able to give. It will be an adjustment, and a tough one at that; not only is Zoe unwilling to eat, she's also unwilling to let Kate get close.
In this regard, she takes right after her aunt, whose defensiveness runs on high after a new chef is hired. Nick (Aaron Eckhart) is a man with a bright, free-spirited approach to cooking: he listens to opera; he actively engages the other chefs; he's charming and witty. Kate finds him threatening, and initially treats him as such by being cold, critical, and distant. But when she decides to bring Zoe to work with her one night, she notices how well Zoe and Nick get along. He even gets her to eat. Thus begins a strained friendship that the audience knows will progress into something more. Of course, that's exactly what the audience hopes will happen. Quite simply, Nick is fun to be around and Kate is not; their coming together allows her to lighten up and let someone in emotionally.
As the film progresses, the relationship between Kate, Zoe, and Nick develops, not necessarily as it would for a family, but rather as it would for a group of friends. I never once thought that Zoe would ever see Nick and Kate as parental figures, which is just as mature on Zoe's part as it is sad. Likewise, I never once thought that Kate saw herself as a mother, despite her growing love for Zoe. The dynamic between these three characters is complex, especially when a number of other conflicts are introduced. For one thing, Zoe fragile state causes problems at school. It also threatens to ruin everything Kate has tried to accomplish. Both are trying, but it's clear that a lot of emotional baggage remains.
Herein lies the film's major weakness: most of Kate's emotional baggage is undefined. We do get a couple of brief mentions, such as her mother's passion for cooking and her father's absence from her life. But none of this is properly developed, and that made her controlling behavior seem less understandable and more uncalled for. Still, I was taken by the dramatic tension between her and Nick; watching an uptight person letting their guard down is both entertaining and uplifting. And I was definitely moved by her attempts with Zoe, who's just begging to be hugged and soothed and reassured that everything would be all right. There's a moment when she watches home video of her mother; Kate sneaks in, sits down, and holds Zoe tightly. You can practically see the emotion dripping off the screen, which is probably why it's effective.
Equally as effective is the growing love between Kate and Nick--a love that can go in any direction but ultimately treads the expected path. I've seen enough cinematic romances to understand that this is appropriate, maybe even necessary. "No Reservations" is the kind of film we occasionally want to see, if not for plausibility, then for the satisfaction of temporarily disappearing into a fantasy. It plays on our personal desires, namely those of happiness and well being in the midst of a crazy world. At one point, Kate says, "I wish there was a cookbook for life"; I found this clever, despite the overuse of the basic message. If it's possible for me to appreciate this kind of dialogue--or even a film with this kind of dialogue--then I think it's safe to assume that it's possible for you, too.
Movie Review: Food, drink, music, and taking a chance
Summary: 4 Stars
Once upon a time there lived a grown-up woman, renowned in all the land for her fabulous cooking. But as is often true when someone excels in one area, that person lacks in all others. This remarkable chef (Catherine Zeta-Jones) has a lovely sister who excels in being a mom to daughter Zoe (Abigail Breslin). As is often the case these two sisters had a father unremarkable for being a nonexistent father. So these two sisters choose to live their lives without men.
Then a terrible thing happens: the mother/sister dies in a car accident, leaving Zoe with the aunt who is a chef also famed for keeping her distance from people. Enter Kate and Zoe, struggling to deal with first, the loss of their beloved, then this new situation and environment. Child and woman, these two, have difficulty meeting on a common ground. There is no spark, no warmth between them. It's not that Kate resents poor Zoe--she just cannot connect with her. It's not that Zoe resents Kate--she is just too sad.
Enter Nick, the slight-of-hand, the guy with the charm and wit, but good charm and sensitive wit, who can read people. He is the synapse who clicks the two--child and woman into a synergy of three people. The loveliest part of the movie is the time the three spend the day together, just doing and being.
Zoe needs to be loved, Kate needs only her job, and the restaurant owner needs a sous chef until Kate adjusts to her new role as a caretaker. Nick (Aaron Eckhart), the sous-chef needs to be needed, not that he is wimpy. He is quite gregarious and fun-loving, but he likes cooperation and congenial surroundings, light-heartedness amidst an often chaotic profession. Kate is all about being serious and professional.
When faced with change, people themselves must change or remain static and find themselves left behind specifically in relationships. When Nick begins to woo Kate, he is so cool. Instead of pouncing on her like a wild beast, he leaves her wanting more--just a kiss, just a kiss. Clever man!
The ending far surpasses what is expected and I will leave it at that. Aaron Eckhart brought exactly the right charisma to his role. He looks the part of a temperamental chef without being one. Catherine Zeta-Jones is finally showing just the blush of aging and it becomes her. She plays her reserve with just the right coolness, exhibiting just a trace of passion below the surface. Any child could have played the girl. On the verge of prepubescence, Abigail Breslin simply did not display her usual cuteness, whether the director, the role, or Abigail herself.
As much a part of the film as any character is the romance of food and wine and music, much of it opera arias with some Italian love songs thrown in. As a matter of fact, I have already ordered the CD. One of the female waitstaff walks through the kitchen to tell Nick that opera is great music for lovemaking just as he said. It certainly is when Kate and Nick finally do kiss. I kept wondering if Michael was watching his wife film this scene. It's a good one.
Not Academy Award material, but definitely date fare. And, oh husbands and wives, it might remind you of that first fire of your love for the other. A wonderfully pleasant little movie!
About the title: To eat in the restaurant in this story, one must make reservations. However, for love of any kind, no reservations are required.
Movie Review: Light and fluffy and delicious!
Summary: 4 Stars
A lot of people seem to be saying, "Don't watch this awful remake! Go watch Mostly Martha, the original!" I say, by all means, watch Mostly Martha, but don't bypass this version.
It's true that if I had watched this without having seen the original version, Mostly Martha, I would probably have liked it even better. This American version is really too close to the original, right down to the appearance of several characters (Leah, the sous-chef, for instance). For this reason, if you try to compare the two, it comes off as a half-hearted reproduction, Mostly Martha's reheated leftovers.
In many ways, it does lack some of the heart and depth of Mostly Martha. The characters are not as deep and intense, so their relationships aren't as meaningful to the audience. Kate is not quite as tightly wound as Martha, not quite as isolated--so her sudden inheritance of a child and the infringement of a stranger in her kitchen are less difficult and less meaningful. Zoe is much happier and lively than Lina ever is, and is not as scarred by her mother's death, so her struggle to accept Kate is again less meaningful. Nick, I felt, was outstanding--he was different from Mario, but equally effective. I actually preferred Nick, in fact, as I found Mario bordered on annoying at times, while Nick was more appealing all the way through (and Aaron Eckhart is certainly better looking!).
So why did I give it four stars? Well, I'm a sucker for a good romance. I feel that if I hadn't seen Mostly Martha, I would have given it four stars as a good romantic comedy. That is what is, and that is, I think, all it tries to be. It is fun to watch, the characters are sympathetic, the acting is excellent, the chemistry between Zeta-Jones and Eckhart is wonderful, and the plot is engaging, if predictable.
I also don't mean to say that No Reservations loses all the heart of Mostly Martha. I think it retains it pretty well, while simply lightening up the plot a little. Overall, I actually prefer this version in many ways. I preferred the story without the presence of Lina's father, who to me interrupted the story considerably in Mostly Martha. And if the characters here are a little less intense, they were easier to relate to, for me at least. I found the romance between the leads more convincing here, and the ending considerably more satisfying than Mostly Martha's. Kate and Nick, by the end, actually seemed a little more human than Martha and Mario ever did, and if the ending is predictable...well, some of us like happy endings!
No Reservations may not fill you up with emotion like Mostly Martha, so don't coming looking for a full-course meal. This a essentially romantic comedy, the soufflés of the movie world: light and fluffy and delicious.