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Both Robinson and Bannerman have strong on-screen presence, so it's easy to root for them to get over whatever it is that's holding them back. Each has his own vulnerabilities, which he is trying to hide, and the actors play them with thoughtful openness even as the script conceals deeper things about them. This makes their cycles of wariness a bit tiring to watch. And because they remain so protective, their other connections never quite come to life.

While the plot is fairly straightforward, this is a beautifully constructed world, cleverly designed and full of energy. Because the Kitchen feels like a respite for those who have fallen through the cracks of an increasing rich-poor divide, it's easy to root for the scrappy residents banging their pots as masked, militarised police launch their violent assaults. Clearly, this isn't actually very different from the way things are today. And while the film doesn't make any direct political comments, these ideas gurgle very loudly under the surface.

themes, language, violence

15.Oct.23 lff

Sensitive storytelling allows gifted, charismatic actors Oosterhof and Hayes to reveal terrific nuances in their characters. These two young men have big dreams that society seems intent on crushing. Hayes' more defiant Whetu courts peril by defiantly living his truth, which inspires Oosterhof's soulful Jim to make some decisions of his own. And Roth finds some lovely textures in the single-minded Stan, who perhaps isn't as cold-hearted as he looks.

Ings continually taps into the underlying emotionality in the story, leading to scenes that are powerfully moving without ever being sentimental. Even when later plot points threaten to send the film in both scary and maudlin directions, the tone remains gritty and honest. And on the way to the finely staged boxing climax, several pivotal scenes have a remarkable tenderness that's deeply affecting.

themes, language, violence, sexuality

13.Nov.23

Much of the humour comes from this over-talking American family blundering into a rather precarious Scandinavian social scene. Starr channels Chevy Chase as the gung-ho dad who is a bit too enthusiastic for his own good, including the epic Christmas decorations. His attempts to speak Norwegian are very funny, and Starr nicely bridges the silliness with the sentimentality as he bonds with Acharia, Winther-Hansen and Bunner, each of whom abandons their early spikiness fairly quickly.

These kinds of cliched story points keep the film from properly engaging the audience, as there is nothing much happening beyond what's right there on the screen. But the script is packed with clever observations and amusing interaction, and there's a lot of fun to be had in the absurdly ridiculous action sequences, which are staged for maximum explosive mayhem. So even if it feels predictable and pointless, the movie still keeps us smiling.

themes, language, violence

28.Sep.23