Movie Review ~ Boiling Point (2021)

The Facts:

Synopsis: Enter the relentless pressure of a restaurant kitchen as a head chef wrangles his team on the busiest day of the year.

Stars: Stephen Graham, Vinette Robinson, Alice May Feetham, Hannah Walters, Malachi Kirby, Izuka Hoyle, Taz Skylar, Lauryn Ajufo, Jason Flemyng, Ray Panthaki, Daniel Larkai, Lourdes Faberes

Director: Philip Barantini

Rated: R

Running Length: 92 minutes

TMMM Score: (5/10)

Review:  There are few things on the technical side of movies that get me as excited as one-shot filmmaking because of all the risks that go along with it.  One screw-up by a background actor, one flubbed line by the star going from one location to another, a missing prop, a malfunctioning door…any of these could ruin a take resulting in the entire machine needing to start up again.  Unless it’s a live event, movies can work some magic and seamlessly cut together one take to the next and though several high-profile films have claimed to have been presented in a single take (1917 springs to mind), further investigation shows that isn’t the case.

So an experience like Boiling Point should be a cause to celebrate because it actually is one of those rare instances of a company of actors and crackerjack film crew collaborating on getting through a 90 minute take without any interruption.  While it began life as a 22-minute short film starring many of the same actors, the ante is upped significantly by expanding upon the original short that sets the film in a tightly packed restaurant already fraught with the tension of a busy night during a critical turning point for many of its staff and leadership.  Director Philip Barantini and co-writer James Cummings have etched a rough sketch for the talented cast to operate within and then set them free for four single takes over two evenings in a trendy London restaurant.  Oddly, though there is an earnest aroma of drama that wafts over the hour and a half of real time events, the overall dish has a bland taste where spice was all but promised.

The dinner service at Jones and Sons (a real restaurant in London) hasn’t even started yet and already head chef Andy Jones (Stephen Graham, Venom: Let There Be Carnage) is having a bad night.  Arguing with his ex on the phone as he steps into his kitchen, he’s greeted by a health and safety inspector who informs him the restaurant rating is being reduced by two points due to recent violations.  Issues with front of house manager Beth (Alice Feetham) cause a disconnect between the wait staff and sous chef Carly (Vinette Robinson, Frankie), resulting in an epic blow-up that has a ripple effect through the employees that support one or the other.   Andy also has to make space in his busy night to placate Alastair Skye (Jason Flemyng, Military Wives), a celebrity chef/friend/investor making an unplanned visit to dine along with his guest, a high-profile food critic (Lourdes Faberes, No Time to Die).  This is all in addition to a variety of customers with their own quirks that irk.

All of the crisscrossing storylines that Cummings and Barantini (Villain) have, ahem, cooked up are interesting in the moment but lack the hook to keep you thinking about them after they are out of sight.  The pace is so rapid there’s barely a moment to breathe, let alone get to know the multitude of players that zoom out of our line of sight.  One of the drawbacks of keeping the camera going is that it often trails people doing absolutely nothing just to have something to film.  In a normal movie, the editor would cut from a shot of an actor exiting down a hallway to them entering another room.  In Boiling Point, we just flutter behind like a gnat, without much purpose.  In one shot, we’re following an actor as they go from one end of the restaurant all the way to the other end and then outside, only to turn around and retrace their steps and back out again because they forgot a jacket.  All of that is likely in service of setting up the actors for the next scene but you’d think the writers would have found some intention to these silent walks. 

More than anything, most of the characters are so unlikable that you almost recoil from the screen after a while. Early on in Boiling Point, the cast is just yelling profanities at one another and while that may be an accurate representation of what it’s like during intense moments in restaurant setting like this (hey, I’ve watched Hell’s Kitchen too!), it wastes precious time where characters could be developed instead.  Everyone seems to be in it for themselves and even seemingly kind server Andrea (Lauryn Ajufo) eventually shows how quickly she can develop a deflective skin for a nasty customer.  In the leading role, Graham often comes up weirdly whiny and definitely not the hero of the piece.  Working through his own problems while holding his business up is breaking him down and tonight may be the final straw…but can he make it through this final service before cleaning up his act?

No spoilers, but the ending to the film was a bit of stupefying lame-ness and a cheap way to go out.  Up until then Boiling Point was just overshooting its goal by trying to do too much so I was so surprised when it decided to nosedive as quickly as it did.  That anyone thought this was a worthy ending for the characters or even something meaningful is totally crazy.  I was leaning toward recommending this movie based on the acumen it showed in carrying off its big achievement stunt, but the finale put me squarely on the fence.  Ultimately, I still think it’s worth seeing for some elements but not for that ending.  Put that ending on ice…or fry it off.  Whatever cooking allegory you want to use.

Movie Review ~ Military Wives


The Facts
:

Synopsis: With their partners away serving in Afghanistan, a group of women on the home front form a choir and quickly find themselves at the center of a media sensation and global movement.

Stars: Kristin Scott Thomas, Sharon Horgan, Jason Flemyng, Greg Wise, Emma Lowndes, Gaby French

Director: Peter Cattaneo

Rated: PG-13

Running Length: 112 minutes

TMMM Score: (6/10)

Review: One of the last movies I was scheduled to see before this pandemic hit was Military Wives and I have to say, I was disappointed to be missing it.  Yes, I know that the #StayHome and #StaySafe orders were for the best and I am in full support of social distancing in order to kick COVID-19 to the curb (what will people think reading this in a few years?) but I was seriously in the mood for something that looked as joyously heartwarming as Military Wives looked to be.  Though you could literally see the plot points developing while the trailer was unspooling it was no matter, sometimes it is OK to know the route before leaving the station.

The chance to get to see this early did present itself, though, so I found myself watching a screener of this during a particularly glum week and I have to say, it really did the trick in brightening a mood.  Even though it deals with some emotional subjects and is, at times, a heart-tugging tearjerker, this is the kind of film made to turn on during a dark period.  It’s bright, it’s light, and it while it is disappointingly not as deep or as sensitively profound as I thought it would be there’s so much good will being poured into it that it’s hard not to give over to its charms at one point or another.

At the Flitcroft Military Base, families are preparing to say goodbye to their loves ones that are shipping out on active duty for a tour in Afghanistan.  In order to stay busy, the spouses/partners of the soldiers serving try to stay busy with events organized by the partner of the second in command.  Previously, this was tightly-wound Kate (Kristin Scott Thomas, Salmon Fishing in the Yemen) but with her husband (Greg Wise, Last Christmas) now the highest level officer at the base, that role now falls to Lisa (Sharon Horgan, Game Night) who is more loose with her definition of organized activity.  When Lisa’s experience with choral work is brought up, the ladies decide to start a choir leading to a power struggle between Lisa and Kate.  With little initial energy behind the choral club from the members and the leaders, it takes a shocking wake-up call to remind the group of their strength and how important their role as caregivers are.

I’ll say off the bat that those expecting a raucous comedy about a dysfunctional choir that starts off bad and turns into an overnight sensation after a series of hysterical antics should likely go back and dust off their copy of Sister Act (actually, do that anyway) because that’s not exactly the movie we have here.  Screenwriters Rosanne Flynn and Rachel Tunnard have taken a true-life story and fictionalized it, letting the Flitcroft Military Choir be the amalgam for a number of choirs that came together during the Afghanistan deployment back in 2008 and their focus is not entirely on laughs but on humor…if that makes sense.  Most of the comedy is derived from the ladies reluctance to participate in the chorus, only to be swayed when they begin to gel as one as they find their voices as a group.  Scenes that you think are headed for a comic punchline either veer in a different direction or don’t go anywhere at all, at times it feels like Flynn and Tunnard are afraid to stray too far into comedic shenanigans, even though the movie might have derived some needed energy from these flights of fancy.

This being a film about loved ones engaged in war you may be able to guess at least one of the poignant moments – and you know it’s coming but just not when or to whom.  Thankfully, the screenwriters spare us the suspense and don’t make that the event that the final act hinges on but rather what pushes it forward.  The real heavy emotional lifting is done by Scott Thomas playing the wife grieving the loss of her son killed in battle left behind by a husband also unable to cope with his sorrow.  Had the movie shifted the focus to be more on Scott Thomas and used her involvement with choir as a way toward her finding healing, I have a feeling it would have been more successful.  As it is, there’s just not enough story or character development to go around the numerous (appealing) supporting cast that doesn’t get much in the way of fleshed out story arcs.  Even the talented Horgan can’t drum up much interest and though she’s meant to be a co-lead she’s often overshadowed by Scott Thomas solely because her character isn’t as well-defined.

Director Peter Cattaneo found unexpected triumph (and an Oscar nomination) over twenty years for the quirky delight that was The Full Monty and as much as the marketing materials want you to believe this is another slam dunk like that was, it isn’t.  That’s not to say Military Wives is without its own share of rich moments of humanity…it’s just that there aren’t quite as many opportunities as there could have been.  It follows a standard formula that gets the job done but is workmanlike in its delivery.  Though it culminates with a moving performance at the Royal Albert Hall and features a typically fantastic performance from School Thomas, Military Wives winds up just under pitch.