In conclusion, a film for teenage girls and their boyfriends who want some. The title of the movie is awful. The usually more dimensional Patricia Clarkson plays Paula as a surprisingly brittle, opportunistic character, while Bob Balaban isn't given much to do at all as Kate's therapist but act as a bromide. She intimidates everyone around her, so her boss sends her to therapy. Perhaps it comes from changing the locale -- Reservations is based on a German comedy, Mostly Martha, and the finer points may have been more palatable in the original setting.
While No Reservations proved to be a wonderful film in the longrun, it was a lot more serious than I expected. My opinion is that you should go and see the original. Don't waste your time, it is horrible. A couple passionately kisses and it is implied they spend the night together. For that matter, Kate treats little Zoe like more of a scheduling problem than a new adoptive daughter. But I found all of these qualities in No Reservations. Such third party cookies may track your use on Filmibeat sites for better rendering.
If anything, I wanted to see Catherine Zeta-Jones do her thing. Kate had her own life and now she is responsible for her niece Zoe. I'm not sure she would have found it interesting, and I think she would have been troubled by some of the plot elements: the little girl's loss of her mother, of course; but also-- as in so many real-life situations-- the child in the movie starts to build a positive relationship with her aunt's boyfriend, only to be faced with the possibility of permanent loss of contact with him after the adults quarrel. No Reservations may live up to its ancestry, and while that isn't saying a whole lot, it's still a relatively sweet, if predictable and overly slick, romance. There are some nice things in the film.
All in all, a very good showing by her. Release date July 26, 2007 Romance happens in all kinds of locations from the tollbooth in to a garden greenhouse in. She stars as hard-driving Kate, a workaholic Greenwich Village chef who's forced to balance her interests in career, romance and family when tragedy strikes. But do not be fooled by the trailer; this isn't merely a cute contest of kitchen wits. And the whole opera music in the American version was very annoying. Catherine Zeta Jones is as beautiful as ever. He does it with gusto, but the necessary explanation for his tastes is absurd, even by Hollywood standards.
My husband and I really enjoyed this movie, but I'm glad we didn't take our nine-year-old daughter. And although his arrival behind the stainless steel counter initially leaves Kate boiling mad, she soon finds herself warming up to the new assistant. However many food programmes there are on television, too many cinematic culinary-themed disasters since the mouth-watering hits Like Water For Chocolate and Eat, Drink, Man, Woman suggest there is no great appetite for another film about food and love. How effective do her sessions seem to be? The actors dutifully perform the rituals of the plot requirements but don't involve us and themselves in an emotional bond. Kate runs her kitchen with all the precision of a military operation. But the emotional details of Kate, Nick and Zoe's journey are surprising, honest and life-size, and the film's determination to present their predicament sympathetically, without appealing to retrograde ideals of femininity and motherhood, makes it notable, and in some ways unique.
Although a bit predictable and somewhat clichéd at times, it still does not disappoint. After a particularly effective opening tragedy, Kate takes the child into her home and attempts to stretch her maternal muscles she tries to feed her a delectably prepared whole fish. Even the cookie cutter romance isn't plagued by wacky, trite misunderstandings to veer it off course. Nick is Kate's quintessential opposite and eventually helps her sort out her trust issues and even enhances her parenting skills. Not Preston Sturges but fun.
Some unexpected ingredients get thrown into Kate Armstrong's Catherine Zeta-Jones recipe for life when the master chef unexpectedly becomes the guardian of her nine-year-old niece Zoe Abigail Breslin and a handsome-but-frustrating suos-chef Aaron Eckhart joins her kitchen staff. Fifteen minutes into the movie, I was waiting for it to move forward and for something to take hold. This movie was an absolute snore fest. These may be attractive Hollywood actors, but they lack convincing chemistry. The chemistry between the characters never develops, and the love story is hard to believe.
But put those names on the marquee, and add charming child-star Abigail Breslin, American audiences should flock to the theatres, right? Watch out for the heart tugging sequences between the little miss Abigail and Zeta-Jones who graduates from imperfect mother to perfect guardian. Nick, however, wants to work under Kate. The atmosphere in the kitchen is somewhat chaotic as Kate feels increasingly threatened by Nick as time goes on due to his style of running her kitchen. I can recommend this without reservations. Regardless, her life is turned upside down by the sudden death of her sister and the addition of her niece Zoe to her structured life. Cold and unfeeling, wedded only to her career or can she be the gentle mother and giving wife too? Every part of her structured life begins changing very fast. Aaron Eckhart Thank You for Smoking, Black Dahlia is Nick, the Italian-trained, opera-singing, charismatic new chef who invades Kate's precision-perfect French kitchen.
Our partners use cookies to ensure we show you advertising that is relevant to you. Kate's sister is killed in a car accident and her nine-year old daughter Zoe Abigail Breslin moves in with Kate. Even finding food the nine-year-old will eat seems to be a daunting task. Scott Hicks' work cuts both ways, creating a warm cocoon that fosters engagement with the well-drawn characters while at the same time steering the material in softer-than-necessary directions and refraining from peeking any deeper into the main characters to suggest what makes them tick. Still, the final dish is a palatable romance that comes with few reservations for adult viewers. No reservations felt like it never connected. Throughout the film, I was utterly miserable.