The Kitchen (2019)
is a female-led crime drama set in 1970s Hell’s Kitchen, New York City. It is based on the DC/Vertigo comic book series of the same name by Ollie Masters and Ming Doyle and was directed by Andrea Berloff, who also served as the co-screenwriter. The film’s ensemble cast included Melissa McCarthy, Tiffany Haddish, and Elisabeth Moss. McCarthy and company clearly aimed to turn genre expectations on their heads by featuring women organized crime figures during America’s gender power gap. Even though the film is richly atmospheric with bold performances, it sometimes falls short of the cohesive narrative or emotional depth proportional to its sprawling ambition.
Set in 1978, The Kitchen opens with three Irish mobsters being arrested for their seedy dealings. Their wives, Kathy O’Carroll (McCarthy), Ruby Walsh (Haddish), and Claire Brennen (Moss), are left behind with scant resources and almost no options. Ruby’s mother-in-law, the matriarch of the Irish mob, claims they will provide some support, but the money is meager and the ‘protection’ money is non-existent. Infuriated and out of options, the widows take matters into their own hands.
Instead of depending on the crumbling mob hierarchy, the trio begins to manage their own business. They scoop up protection payments, broaden their sphere of influence, and gradually create a criminal empire that is both more ineffective and more merciless than the predecessors who came ahead of them. They make strategic business partnerships, neutralize rivals, and in time command Hell’s Kitchen’s underworld to respect and fear them. Still, their newfound authority brings with it escalating inner strife, backstabbing, and moral corruption, while the tension mounts.
Melissa McCarthy, who is more known for light-hearted roles, embraces the figure of a two-children mother Kathy, who was supposed to be a calmer, more sensible member of the group. The shift from a housewife to a mobster is seamless, and McCarthy masterfully adds nuance to her performance, balancing wisdom and grit. As a group member, Kathy assumes the role of an agile strategist, which allows her to keep the team cohesive.
The character of Ruby, played by Tiffany Haddish, is the most ruthless and driven out of the three. Married to one of the mobsters but sidelined within the Irish community because of her ethnicity, Ruby demonstrates a willingness to seize power. From the outset, Haddish brings a sharp edge to the role, portraying Ruby as a woman who has been scorned and is now set to take what is rightfully hers. Haddish stands out as one of the most Ruby of her performance’s during the film’s darker moments, as she’s increasingly motivated by darker forces.
Elisabeth Moss, cast as Claire, arguably has the most emotionally powerful arc. Living in constant fear and enduring her husband’s abuse, Claire’s transformation from a submissive victim to an active violent enforcer is perhaps the most unsettling yet empowering narrative in the film. Moss is brilliant as she captures the shapelessness of Claire’s beginnings and her moral tailspin into deep waters. Her relationship with Gabriel (Domhnall Gleeson), the hitman turned lover who teaches her the art of killing, complicates her character and merges tenderness with brutality.
The film’s setting is one of its strongest elements. The set construction, wardrobe, and even the music capture the gritty feel of New York in the late 1970s. The depiction of Hell’s Kitchen shows that it is a bleak and perilous place rife with social decay, suffering, and vice. This setting forms the physical and metaphorical backdrop for the void of power the women attempt to fill. The film’s colors are predominantly subdued browns, grays, and muted colors that reflect the era, starkly contrasting the bold and often brutal actions of the characters.
Even with its intriguing plot and well-known lead actors, The Kitchen has many structural and tonal problems. The Kitchen suffers from uneven pacing—scenes of high drama are followed by dullness or lack of development. The attempt to incorporate multiple storylines was not successful, as some of them were more fleshd out than others. The character arc from housewife to gang leader is interesting in theory, but often feels too swift or unsatisfactory in the execution.
Additionally, the film’s message regarding women empowerment is quite unclear. The film shows women taking control in a patriarchal society and exercising power, but does not examine the ramifications of that power fully. The film at times celebrates their actions without reflection, rather than facing the violent ethical ambiguity of their deeds. This dissonance makes the film fail in its thematic execution while achieving its narrative intentions.
The supporting cast features strong performances like Domhnall Gleeson’s portrayal of the emotionally detached hitman Gabriel, Common as an undercover FBI agent, and Bill Camp’s surprising role as a Jewish mobster turned ally. However, the characters feel underdeveloped and are not fully incorporated into the central storyline. While their interactions with the three protagonists add depth, these dynamics are only partially explored, leaving many loose ends.
One of the problems is the crime thriller, feminist drama, and character study having to come together in the film is too much. Those genres are not blended smoothly, creating incoherent tonal balance. Some scenes try to depict gritty realism, while others resort to melodrama and stylized violence. Because of this, the film at times struggles to establish a clear identity.
As The Kitchen progresses, its climax is laced with betrayal and entwining of new allegiances. The resolution is too scrunched to be coherent, thus character motivations remain partially vague, despite the attempts made. While the notion of dominion over Hell’s Kitchen being transitioned to women is commendable, the unraveling lacks clarity and emotional depth, rendering it ineffective.
To sum up
The Kitchen showcases an unbridled potential. Unlike most crime-centric films, this one toes the line with women at its focus. The lead trio also deliver stellar performances. The film captures the look and feel of the 70s with effort, style, and pride. Unfortunately, The Kitchen forgets to weave the loose ends of the plot and neglects to focus on the underlying themes, resulting in an intriguing yet inconsistent production. Those looking for a bold concept intertwined with strategic brilliance will find The Kitchen mesmerizing, even if it lacks in making a lasting impression.
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