After destroying his career with drugs and an inflated ego, Adam Jones is looking to turn over a new leaf. Two years sober, the famed chef has returned to London, hell bent on redeeming himself by taking over a restaurant and leading it to a three Michelin star rating. The only problem"¦Adam hasn't completely dealt with his past, leaving the door open for a mass amount of chaos and debauchery.
Cooper, starring as Jones, appears to be at ease with the witty, tightly wound script from scribe Steven Knight. The blend of satire and banter help keep the film moving during its sluggish character-building segments, and it is during these comedic moments that Bradley truly shines. And one must not overlook his impressive outburst after a less than stellar opening night. His impulsive temper tantrum got everyone's attention and let you see a side to Jones that had only been referenced to during the first portion of the film. Cooper's execution was nothing short of memorable.
Cooper is backed by a notable supporting cast, though none ever break free from the background to leave their mark on the story. Sure, Sienna Miller's Helene is the most featured; however, her forced struggle as a single mother who is working to make her mark in a male-dominated industry is nothing short of a plea for social relevance. And her quickly formed romantic relationship with Jones is hardly plausible given their history.
Uma Thurman and Emma Thompson both make embarrassingly small appearances in the film. Granted, each serve a rather large purpose to the overall story, I couldn't help but be disappointed with their involvement. That feeling extended to Sam Keeley as well. When we first meet Keeley's David, you assume that he will be a major player. And while his role in the kitchen proves to be vital, you don't see his evolution, making his sudden reappearance out of place and a bit unjustified.
Combat that with a predictable story arc that intertwines the rigors of running a kitchen and the struggles of dealing with an addiction, and the film seems to be nothing more than a rather extreme therapy session for Jones as he learns that forgetting his past isn't the same as dealing with it. There is simply too much going on, and none of it strikes you as important. Instead, it shuffles from one problem to the next, keeping things light as it attempts to create a kitchen dramedy. The end result is several intriguing moments, along with a few laughs, chuckles and smiles, all of which amount to a film that is nice"¦but nothing close to a white tablecloth affair.
