A CHEF’S VOYAGE – movie review

First Run Features
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Rémi Anfosso, Jason Matzner
Cast: David Kinch, Jean-André Charial, Glenn Viel, Alain Soliveres, Gérald Passédat, Koji Yokoyama, Courtney Weyl, Chkristine Muhklke, Jenny Yun, Mitch Lienhard, Jim Rollston, Julie Strangier, Grant Waller, Jean-Benoit Hughes, Eloi Dürrbach, Renata Ameni, Kristopher Lord
Screened at: Critics’ link, NYC, 8/21/20
Opens: September 18, 2020


There are some things I didn’t know before seeing “A Chef’s Voyage.” For example, did you know that the word “restaurant” derives from “restore” or “refresh?” Do you feel either restored or refreshed when you finish a Happy Meal at Mickey D’s? Oh, the banality of that corporation’s food—though they should be praised for giving their customers affordable meals. One wonders whether people even think of what they’re eating since Big Mac, medium fries and a Coke are indulged in so frequently that you can’t blame customers for spending more time texting their Facebook friends even when seated with a real live pal who gets ignored. But enough snobbery.

A Chef's Voyage - A Chef's Voyage $4.99 - SOMM TV

Now David Kinch, the star of this documentary, knows how to refresh and restore his customers and his staff alike, though his cuisine is likely more expensive than a Happy Meal. The red-haired, blued-eyed, scruffy-bearded owner of a 3-star Michelin restaurant Manresa in Los Gatos, California since 2002 also wrote a 328 page cookbook “Manresa: An Edible Reflection” together with Christine Muhlke, but Kinch did not get a coveted third Michelin star by reading someone else’s cookbooks. Though the movie does not bring out his training, he started at New York’s “The Quilted Giraffe” and worked his way up, cooking even at a place in Fukuoka, Japan, learning from the great chefs of Europe like Dieter Müller.

What we do know about David is that he’s quite a personable fellow, speaking to his movie audience with humility, intent on telling us that to get those Michelin stars he needed not only to know how to use ingredients but also to motivate his staff since, “Who wants to train new people every year?” And his staff seems to love him especially since he took this contingent of people in their mid-twenties to France, presumably paying their fare, but that’s not clear. As the group plans the trip—some of whom had never traveled outside the country—they wondered what they should carry and even whether the airport officials would seize the sauce which took five days to prepare, but David assured them to be minimalist: underwear and abalone.

He was invited by top chefs in Marseilles, Paris, and a village Les Baux in Provence to show what he’s got, that perhaps even Californians can teach the great French a thing or two. So, with his own crew, he would get up a seven in the morning to start preparations which, in Marseilles, could mean catching fish which must be used on that same day. As the French restaurateurs look on, he and his young staff would prepare food California style for the customers, whom we never see.

The areas are striking, beckoning us not only to salivate on the food but to walk about picturesque Marseilles whose chefs use olive oil but never butter or cream, the medieval-looking village of Les Baux in Provence, and also Paris, whose chefs make omelets like David with both oil and butter. The owner of the Marseilles establishment emphasizes the need for a staff to respect one another, and allow each person to adapt an identity—a personal style like a film director.

The most savory dish to me is the combination of duck, lobster, clams and mussels which, if soup is added, would be a nifty bouillabaisse.

The film has value to us in the audience less from the food—which may be awesome but you can’t taste it from your movie seat especially if you’re indulging in popcorn. More from watching and listening to David dressed in a sweatshirt with the word “bread,” talk about his experiences, how he grew into loving food, how he worked his way to that coveted Michelin third star, and how, when all is said and done, he can be perfectly happy making an omelet—with oil and butter.

90 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B
Technical – B+
Overall – B



Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Benjamin Galland
Screenwriter: Corey Fischer, Benjamin Galland, Donna Laemmlen
Cast: Kaiwi Lyman, Megan Hensley, Amanda Maddox, Natalie Duran, Bryce Wissel, Jacki Florine
Screened at: Critics’ link, NYC, 8/4/20
Opens: August 17, 2020

Gripped Film Picked Up for Distribution, Announces Release Date ...

If you want a climbing movie with a plot, you’ll want to look back to Clint Eastwood’s 1975 “The Eiger Sanction,” wherein a a hit man, who is an experienced climber, is ordered to take out a climber. He sees three men scaling the Eiger in the Swiss Alps and does not know who is the true target. The plot is unbelievable, but so what? It makes for interesting action fare, scenes of the Alps, and an exciting motif. “The Vertical Limit” is another, also a ridiculous plot, but keeps the viewers glued as a young climber seeks to save his sister and a summit team before time runs out. “Shivaay” focuses on a skilled mountain climber whose daughter is kidnapped while he seems helpless to save her. Eleven percent fresh on Rotten Tomatoes, but then again, there’s a plot.

The plot is not ridiculous in “Gripped: Climbing the Killer Pillar,” but Benjamin Galland in his sophomore full narrative feature doesn’t have much of a story, which makes one wonder why three screenwriters were needed when the chatter on level ground could have been improvised. The story takes place in California’s Sierra Nevada mountains featuring one thousand foot rock cliffs with enough cracks to place your fingers to propel you from the ground up.

The two leads, Bret (Kaiwi Lyman) and Rose (Amanda Maddox) meet up with others on the grouind, spending the first night drinking beer and partying. You can believe that Kaiwi Lyman would know how to scale a cliff given that he’s an outdoorsman, having played water polo, sailed, indulged in Brazilian jiu jitsu, surfed and acted as a magician, but as his bio states, nothing excites his more than being on the stage. It’s not that he should stick to the stage. The trouble is that the rock-climbing movie which is billed as a comedy but is really a romance in the great outdoors is not much of a watch unless you are yourself a rock climber.

In the movie’s favor is that there are no stunt people. The actors do their own rope-climbing and must worry that the head and shoulder injury faced by Bret would not be too serious. There is excellent cinematography by John Garrett, who may have done even more than the two climbers by lugging heavy equipment up the rocks—if indeed he got the close-ups and far shots from a neighboring peak.

Rose falls for Bret, not unusual given the man’s chick-bait looks with long blond hair and beard, a kerchief tied to his forehead, and since there’s nothing like danger to arouse the passions, the two hit it off hundreds of feet up, kid each other, find time to kiss, and Rose is able to save Bret (not the other way around) when the gent slips and hits his head and shoulder. While the folks back on land, Jade (Megan Hensley) and company rush into action when the two injured daredevils do reach the land, whatever amounts to a story is predictable. Still it’s a woman-empowerment film especially since the woman saves the rugged man.

89 minutes. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – D-
Acting – B
Technical – A
Overall – C+


National Geographic Documentary Films
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Ron Howard
Screened at: Critics’ link, NYC, 7/23/20
Cast: Erin Brockovich, Michelle John, Phil John, Matt Gates
Opens: July 31, 2020

“God gave Noah the rainbow sign,
No more water, the fire next time!”

Before peace can rain with Satan cast into a bottomless pit and world peace is symbolized when the lion will eat straw like the cow, our earth will be cleansed by fire. Part of that prophesy comes true though nobody in Paradise, California considers themselves cleansed when on November 8, 208, the town of Paradise looked more like hell than like the geographical entity it was named for. Whether the mother of all fires could have been prevented were it not for climate change is surprisingly glided over in this heartfelt documentary. For those of us who live in big cities, we get quite a picture of what it’s like to live in a small California town. What comes across by the film’s conclusion is that Paradise is a community in which the people are not the types who go bowling alone and who do not join groups, but rather down-to-earth, get-the-job-done sorts of folks that have the spirit, the gumption, the cojones to rebuild after mourning the 85 people killed in the fire—one while in his wheelchair and others who could not escape the flames in their cars.

A documentary about the Camp Fire recovery efforts was premiered ...

Most Americans are familiar with California names like L.A., San Francisco, Santa Barbara, Santa Rosa, and the like but may be appraised of Paradise when global news in November 2018 reported the disaster felt by the 26,000-strong residents of Paradise. The film’s director Ron Howard boasts a long résumé of acting and directing credits including his “Frost/Nixon” which is a retelling of the famous interview between David Frost and the disgraced President (“When the President does it, it’s not illegal). This time he visits the besieged town, allowing us to eavesdrop at a series of meetings filled with people both tearful and angry, though the most dramatic moments, which pop up now and then, are scenes of fires that appear to presage the end of the world.

Though perhaps hundreds, even thousands of residents are determined to leave the place for good given the possibility of yet another conflagration in these days of rapid climate change, others are staying put, emboldened by large groups of supporters who fill large auditoriums with their meetings and hear of contacts with bureaucrats in FEMA who may or may not kick in adequate funds to rebuild as though this were Europe in 1945. FEMA did, at least, provide mobile homes temporarily to house the newly homeless, probably doing a better job than any government group did when in 2005 New Orleans was turned into an American Venice.

Matt Gates is in the hero’s seat, a local police officer who on November 8 helped his townspeople to get to safety even as his own digs are wiped out by the flames. Erin Brockovich, who built a case in 1993 against the villainous Pacific Gas and Electric (PG&E), takes a cameo, while schools superintendent Michelle John, whose husband makes sure that the class of 2019 gets a full-scale outdoor graduation, presides of the ceremony. (By the way, at the packed-to-the-gills meetings of the community, where are the high-school kids?)

The doc seems made by National Geographic Documentary Films primarily for TV use. More information should have been forthcoming about how or whether PG&E—who sent an executive to the meeting to apologize for the corporation’s negligence—will make the residents whole and to what extent the residents are helped by their homeowners’ insurance.

95 minutes. 132 minutes with a Q&A. © 2020 by Harvey Karten, Member, New York Film Critics Online

Story – B
Acting – B
Technical – A-
Overall – B+


BRIAN BANKS – movie review

Bleecker Street
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Tom Shadyac
Screenwriter: Doug Atchison
Cast: Aldis Hodge, Greg Kinnear, Sherri Shepherd, Xosha Roquemore, Melanie Liburd, Tiffany Dupont
Screened at: Tribeca, NYC, 6/5/19
Opens: August 9, 2019

Brian Banks Movie Poster

When Spain in the 15th century determined to make the entire country Catholic, Jews and Muslims were told that if they did not convert to Catholicism, they would be expelled from the country. Most did. The authorities set up the Spanish Inquisition. If a converso, i.e. a Jew who converted to Catholicism, could be caught secretly practicing Judaism, e.g. by lighting candles on Friday night, he or she could be hauled before the court of the Inquisition and, if found guilty, could be tortured and executed. Some say that it was enough for a servant to accuse her boss of heresy, of practicing Judaic rituals though professing identity as a new Catholic. The servant’s word would be taken. A similar event in a way, made into art by the 1960 novel by Harper Lee “To Kill a Mockingbird,” deals with a false accusation of rape made by a Mayella Ewell, a white woman against Tom Robinson, a black man.

It took some guts to produce the movie “Brian Banks” at a time that the #MeToo movement carries momentum as women have stepped forward in greater numbers than ever before accusing men of sexual harassment and more. Men who have questioned the veracity of accusers are ostracized as Neanderthals who want to bring back the 1950s, when women, having pledged to honor, cherish and obey their future husbands, stayed in the kitchen and sucked up (so to speak) any harassment of a sexual nature. “Brian Banks” is the anti-#MeToo movie, though since it’s based on true facts, the cast and crew cannot legitimately be faulted for standing up for a man who had been falsely accused of rape.

The title character is played by Aldis Hodge in a career-making role. Hodge, one of the most muscular guys you’ll see in the movies, delivers a stunning performance in a powerful movie closely based on true events that took place beginning in 2002. Though his director Tom Shadyac is known largely for comedies like “Bruce Almighty” and “The Nutty Professor,” Shadyac does quite an impressive job hammering home the injustices of our legal system, here specifically against what is called California’s “broken system.” (If a blue state’s system is broken, what must be going on in Alabama?)

Brian Banks had everything going for him. A football player at Long Beach, California high school offered a scholarship at USC which may have seen him as destined for the NFL, he briefly flirts with a female high school student, Kennish Rice (Xosha Roquemore) in the hall. They go past other classrooms into a secluded area known as a make-out spot, kiss, and are spotted by a security guard. Returning to class, Kennisha—who later admits that she was afraid to tell her mother that she was sexually active—accuses Banks of rape. Banks’s lawyer, who must have been as stupid as Kennisha, never insisted on DNA evidence, tells her client that he should plead guilty and take probation rather than risk a 41-year-sentence, but looks as shocked as Banks when the judge denies probation and hands down a six-year sentence with years of parole following. His football career appears over, Banks cannot get a job, and he is harassed repeated by his parole officer when Banks temporarily leaves the county to interview for jobs.

Banks contacts Justin Brooks (Greg Kinnear), founder and head of the California Innocence Project, who at first sees the man as another of the hundreds, more likely thousands of petitioners asking for help in getting their sentences overturned. Behind the scenes, Kennisha’s mother (Monique Grant) sues the school for providing lax security, winning a $1.5 million settlement. With that kind of money, we cannot expect Kennisha to ‘fess up and admit that she lied, thereby losing the award and freeing Banks to get his life back.

Many scenes should enrage an audience of fair-minded people who still think that America is the land of the free and the home of the brave. Watch how the technicalities of the law prevent common sense judgments. Best example: during the end of his parole period Banks gets Kennesha to admit her lies, the confession is taped, but the tape cannot be admitted in court since Kennesha did not give permission to be recorded. Banks is provoked into a fight in prison, breaks the guy’s jaw, and is sentenced to 60 days in the hole, in solitary, a tiny room that could be used on the set of a movie taking place on Devil’s Island. If Americans who regularly cite the Second Amendment would protest violations of the Eighth Amendment as forcefully, maybe we would get somewhere to creating a more just society.

Greg Kinnear delivers mightily as a man who has noble ideals but can disappoint since he must choose his cases among thousands of requests, while Sherri Shepherd plays the kind of mom we all want who will stick up for her boy, wanting his happiness more than anything else. Contrast her role with that of Kennisha’s mom who, in sticking up for her lying daughter enacts a scene that smacks of racist stereotypes.

Yes, the movie can be schmaltzy, but the schmaltz is what brings tears to the eyes and joy in the ultimate outcome. This is a movie that’s easy to recommend for large public consumption, a “To Kill a Mockingbird” for the 21st Century.

For the actual facts of the case go to https://www.law.umich.edu/special/exoneration/Pages/casedetail.aspx?caseid=3901

99 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – A-
Acting – A
Technical – b+
Overall – A-

HOTEL ARTEMIS – movie reveiw


Global Road Entertainment
Reviewed by: Harvey Karten
Director: Drew Pearce
Screenwriter:  Drew Pearce
Cast:  Jodie Foster, Sterling K. Brown, Sofia Boutella, Jeff Goldblum, Brian Tyree Henry, Jenny Slate
Screened at: Review 1, NYC, 6/4/18
Opens: June 8, 2018
Hotel Artemis - Poster Gallery
You might be a fan of Quentin Tarantino’s mindset and of the Jack Wick pictures but that does not guarantee affection got “Hotel Artemis.  Though there are three fine performances here—those of Jodie Foster, Sterling K. Brown and Sofia Boutella—the movie is lacking in a solid story and depends on episodic incidents, some violent, also considerable copy-cat fighting particularly involving a woman who speaks French but can take care of herself even when attacked by four male thugs.

This is Foster’s first film since “Elysium” in 2013– yet another dystopian feature but with a more interesting story about how the rich live on a man-made space station while the rest of us must bide our time on an earth ruined  by climate change and other man-made disasters.  While “Elysium” is set in 2174, “Hotel Artemis” moves on only until 2028. The good news is that the earth has survived. The bad news is: why bother?  Los Angeles is in a state of anarchy, each day like the 24-hour period that motivates “The Purge.”  While criminals are at risk, there is just one safe house that virtually guarantees protection.  The Hotel Artemis, a well-known old structure that freely advertises its location is secretly available only to members.  And to be a member you must be a dangerous criminal, a fact not likely mentioned by Trivago.

The structure is run by “Nurse,” who has available some of the most modern robotic surgery equipment with corresponding computer screeners from the floor to the ceiling.  When criminals begin checking in by showing their membership cards, she opens the gate, a woman whose use of a rotary dial telephone and hi fi turntable seems an anomaly when set against her high tech equipment.

When she admits hotel owner “Niagara” (Jeff Goldblum) violence is triggered inside the safe house involving rival gangs.  Guests include “Waikiki” (Sterling K. Brown), “Nice” (Sofia Boutella), “Honolulu” (Brian Tyree Henry) and others, including a policewoman, Morgan (Jenny Slate) whom she admits for reasons of her own despite the cop’s non-membership.  With the marmoreal “Everest” (Dave Bautista) running security, “Nurse” insists that the rules are paramount, that nobody is above the law.  When the rules are broken, havoc reigns within as well as without.

The usual gunplay, knifings, strangulations, death by hard objects and even elevator shafts keeping the energy flowing, the episodic nature of the short movie (actually a mere 85 minutes without the end-credits) has no way of being redeemed by the dystopian ambiance filmed well by Chung Hoon-Chung behind the lens or by the eight-person make-up team which gave Jodie Foster an eerie look of a woman a decade or more her age.

Writer-director Drew Pearce in his freshman role as director of a full length feature, is in his métier, having scripted  “Iron Man 3” and “Mission Impossible—Rogue Nation.”


Unrated.  96 minutes.  © 2018 by Harvey Karten, Member, New York Film Critics Online

Story – C+
Acting – B-
Technical – B
Overall – C+