The wives of New York gangsters in Hell's Kitchen in the 1970s continue to operate their husbands' rackets after they're locked up in prison.The wives of New York gangsters in Hell's Kitchen in the 1970s continue to operate their husbands' rackets after they're locked up in prison.The wives of New York gangsters in Hell's Kitchen in the 1970s continue to operate their husbands' rackets after they're locked up in prison.
- Director
- Writers
- Stars
- Awards
- 1 nomination total
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Featured reviews
This movie couldn't make up it's mind what kind of a movie it wanted to be (Gritty Crime Drama, Female Empowerment Vehicle, Action Adventure Ride, Anti-Hero Saga). One one hand it had a high power primary cast with an equally stellar supporting cast, on the other hand it was loosely based on a DC comic series. The acting was passionate and well articulated, yet the writing was muddled, the premise kept shifting and the resolve was unfulfilling. The acting was good but rather drowned out by the movie's lack of focus. I give this film a 6 (fair) out of 10. {Crime Drama}
Competently made - with believable performances from Melissa McCarthy, Tiffany Haddish, Elisabeth Moss, and the rest of its cast - but 'The Kitchen' suffers from a mediocre, paint-by-numbers script that wastes the full potential of the story.
Novice writer Andrea Berloff makes her directorial debut, and manages to do a better job (for a newbie) with the camera, than her story.
The story started off good and held my attention, until the boys got out of jail. Then the writing just got ridiculous, convoluted and full of plot issues, and tanked from there. The entire conflict towards the end (especially the whole 'black power' component) between McCarthy and Haddish's characters was just dumb and unnecessary. There were so many more much better options the films' direction should've headed to after the boys got out. I wanted more... more action and suspense - in good old fashion mob storytelling, instead of this equal rights and gender equality garbage.
This was more of a drama, than the gangster film it wanted to be. The gals all played their roles well, but their story was just bland and unconvincing from the start. The 102 min length felt longer with the slow pacing and some dragged out and unnecessary scenes, especially towards the end. The editing was terrible. The cinematography and score were on point.
It's certainly no female Goodfellas, nor anything close to a Scorsese film... it's a dumbed down version of Widows, albeit still enjoyable - if there's nothing better to watch.
It's a 6/10 from me.
The story started off good and held my attention, until the boys got out of jail. Then the writing just got ridiculous, convoluted and full of plot issues, and tanked from there. The entire conflict towards the end (especially the whole 'black power' component) between McCarthy and Haddish's characters was just dumb and unnecessary. There were so many more much better options the films' direction should've headed to after the boys got out. I wanted more... more action and suspense - in good old fashion mob storytelling, instead of this equal rights and gender equality garbage.
This was more of a drama, than the gangster film it wanted to be. The gals all played their roles well, but their story was just bland and unconvincing from the start. The 102 min length felt longer with the slow pacing and some dragged out and unnecessary scenes, especially towards the end. The editing was terrible. The cinematography and score were on point.
It's certainly no female Goodfellas, nor anything close to a Scorsese film... it's a dumbed down version of Widows, albeit still enjoyable - if there's nothing better to watch.
It's a 6/10 from me.
"The Kitchen" seemingly sunk without a trace upon its release back in 2019, despite being an adaptation of a comic book and staring two comedy talents and the always wonderful Elisabeth Moss. Watching it now, it's easy to see why it couldn't connect.
When their low-level Irish mob husbands are sent to prison for a stick up job, three women, Kathy (Melissa McCarthy), Ruby (Tiffany Haddish) and Claire (Elisabeth Moss) short of money but with some connections, decide to step in and fill the gap. Because they actually provide the services that their husbands long since stopped delivering, they are very successful soon decide to take control of the whole of Hell's Kitchen, which draws the anger of the rest of the Irish families.
The immediate problem, and "The Kitchen" biggest failing for me was that I'm not sure what it was supposed to be. It doesn't help that I wasn't sure going in that it wasn't a comedy, as it a) sounds like a premise for a comedy and b) casts two comedic stars as two of its leads, but watching it you soon get that it isn't. So then you're left with a story about these characters coming up in organised crime, a story that's been well covered by other films before, but here, one where I never had any idea of the scale of the enterprise. They seemed initially to just be collecting from a couple of stores, but then it just seems to get bigger and more successful without ever showing us how, or what, they had to overcome to do so. And then it ends without ever reaching a conclusion. From a storyline point of view, it's a mess.
The performances are fine, I've not enjoyed all of McCarthy's comedic films, but she's probably the standout here. It's just that it's in a film that doesn't really have a story to tell.
When their low-level Irish mob husbands are sent to prison for a stick up job, three women, Kathy (Melissa McCarthy), Ruby (Tiffany Haddish) and Claire (Elisabeth Moss) short of money but with some connections, decide to step in and fill the gap. Because they actually provide the services that their husbands long since stopped delivering, they are very successful soon decide to take control of the whole of Hell's Kitchen, which draws the anger of the rest of the Irish families.
The immediate problem, and "The Kitchen" biggest failing for me was that I'm not sure what it was supposed to be. It doesn't help that I wasn't sure going in that it wasn't a comedy, as it a) sounds like a premise for a comedy and b) casts two comedic stars as two of its leads, but watching it you soon get that it isn't. So then you're left with a story about these characters coming up in organised crime, a story that's been well covered by other films before, but here, one where I never had any idea of the scale of the enterprise. They seemed initially to just be collecting from a couple of stores, but then it just seems to get bigger and more successful without ever showing us how, or what, they had to overcome to do so. And then it ends without ever reaching a conclusion. From a storyline point of view, it's a mess.
The performances are fine, I've not enjoyed all of McCarthy's comedic films, but she's probably the standout here. It's just that it's in a film that doesn't really have a story to tell.
Although I cannot fault the excellent performances of Melissa, Tiffany, or Elisabeth, who all do justice to characters that are way too complicated, the film itself left a lot to be desired. First of all the situations seemed so totally unlikely that it was hard to swallow the overall plot. Another thing that I found irritating was that there ended up being no one I felt like rooting for, and I do mean no one. Overall, not a complete waste of time, but certainly not very memorable.
Did you know
- TriviaWhen referring to a site for a planned convention center project, Alfonso Coretti mentions "some millionaire's kid, a little s**t-for-brains." The project would become the Javitz Center, and the millionaire's kid is Donald Trump who owned the option on the rail yard site that the Center would eventually be built upon.
- GoofsAt the 12:34 mark when Elisabeth Moss' character leaves the diner, an address number next door shows 6920. That shows that the shot was nowhere near Hell's Kitchen. (Actually it's 3rd avenue in Bay Ridge, Brooklyn.)
- Quotes
Kathy Brennan: Bunch of men that have forgotten what family means.
Ruby O'Carroll: So we remind them.
- Crazy creditsRetro-style versions of the Warner Bros. and New Line Cinema logos are used, suiting the film's 1970s setting.
- SoundtracksIt's a Man's Man's Man's World
Written by James Brown and Betty Newsome
Performed by Etta James
Courtesy of Columbia Records
By arrangement with Sony Music Entertainment
Details
- Release date
- Countries of origin
- Official site
- Languages
- Also known as
- Căn Bếp Địa Ngục
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $38,000,000 (estimated)
- Gross US & Canada
- $12,180,032
- Opening weekend US & Canada
- $5,527,410
- Aug 11, 2019
- Gross worldwide
- $15,980,032
- Runtime
- 1h 42m(102 min)
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
Contribute to this page
Suggest an edit or add missing content