Bradley Cooper’s year is in desperate need of a good film after his two past leading endeavors, "Serena" and "Aloha," failed at the hands of the critics and the box office.
“Burnt” is not that film. There was hope for this film before post-production, but the hastily and frantically prepared final dish that is “Burnt” seemed more like a seven-course meal prepared and plated by a child rather than a Michelin star chef. Unfortunately, the unevenness behind the camera and in the editing room could not be made up for by a star-studded cast’s lazy performances.
Adam Jones (Cooper), a former addict and former world-renowned chef finds that his life of sin has him dried-up and shucking oysters to get by. After years of recovery and cleaning up, he finds himself in London, opening a new restaurant in the attempt to earn his third Michelin star and become a reputed chef once again. His kitchen is ran under a tight regime as he emphasizes the absolute necessity for perfection and he pushes his chefs to their utmost capabilities.
In London, his past comes back to haunt him in the form of drug lords with a vengeance and a nemesis chef (Matthew Rhys). In this struggle, Jones receives the help of restaurateur and old friend Tony (Daniel Bruhl) and an equally hotheaded and talented chef, Helene (Sienna Miller).
It is hard to tell if there is too much or not enough footage to edit when it comes to the inconsistencies that “Burnt” faces. Every cooking scene and many of the scenes featuring conversations are littered with random cuts, creating a dizzying unevenness with many glaringly obvious continuity errors.
Meanwhile, it seems the only technique the cameramen were instructed to use is soft-focus which further blurs the disastrously muddled story. Even worse, the movie plays out as one long montage — this is all that is employed to get from one part of Jones’ life to the next. Overall, "Burnt" relies on a faux-edginess which comes off pale, repetitive, nauseating and strangely tame.
When “Burnt” was called “Adam Jones” it was a beloved script on the 2007 Black List, which compiles the best unproduced scripts. That greatness has been chopped, seared and served as a well-done cheeseburger instead of a promising filet mignon. Helene is the closest to a fully developed character, and that might be thanks to Miller’s expertise. The rest of the plot treads on familiar water, yet all the plot points are underwritten and over dramatic.
Many stories collide, but none is explored such as Jones' relationship with ex-girlfriend Anne Marie and food critic Simone Forth, both bit roles played by amazing actresses, Alicia Vikander and Uma Thurman, respectively. There are also arcs featuring Tony’s secret love for Jones and drug dealer’s from Jones’ past who cause trouble, but they never amount to anything.
Furthermore, “Burnt” nearly makes comments on the troubles of perfectionism, but the neatly packaged "perfect ending" is both unrealistic and anemic, leaving nothing to be said.
Unfortunately for Cooper, he doesn’t ever settle into Adam Jones; his inviting blue eyes and nice-guy persona shine through the troubled Jones. Despite this, Cooper has moments of greatness, especially in an interaction with Helene and some tender moments with her daughter.
Miller’s Helene is a little more complicated than Jones, and Miller combines that intensity with a maternal tenderness which almost created a three-dimensional character in the process.
The huge supporting cast, featuring great actors like Bruhl, Thurman, Vikander, Rhys, Lily James and Omar Sy, is full of useless one-note characters that get lost in the shuffle and the film's inconsistencies.
Ultimately, “Burnt” fails as a savory dish, but is instead fast food that offers occasional moments of mediocrity and lacks nutrition or variety. Director John Wells delves into weak, film school techniques far too often which beg the viewers to wonder: should he just stick to the more forgiving TV?
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Reach the reporter at tanner.stechnij@asu.edu or follow @tannerstechnij on Twitter.
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