VividSimon Simply Perfect

NekoHomey Purely Joyful Movie!

Kaelan Mccaffrey Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

Janis One of the most extraordinary films you will see this year. Take that as you want.

Mike Legentil First, let me mention the fact that, in spite of its title («Stories», in plural), there is only ONE Kitchen Story. As to whether Isak died or not at the end, I'm not so sure since, in one of the very last scenes, HIS PIPE is seen lying on the table next to the two cups. On the DVD cover, there is a reference to Tati. It claims that the film is «très drôle: rappelle Tati !» («Very funny: reminiscent of Tati!». The great Jacques Tati relied mainly on mime and silent deadpan attitudes to achieve his comical effects and to offer his critically satiric views of his 1950’s French «modern» society. Of course «Kitchen» does take place during the 1950’s and it does offer some (rather faint) satirical references to the absurdities of bureaucracy and there are some long moments were no words are uttered -– but they are not really funny. Are all these small details enough to make «Kitchen» a «Tatiesque» movie ? This being said, I have to admit that «Kitchen» does deal with the sometimes false objectivity of scientific research versus the «truth» of human subjective emotions. Generally speaking, the movie was agonizingly slow, with nothing much happening -- with barely any «dramatic impulse» : the involving parts were the set up during the first 15 minutes or so, and during the last half hour or so. Indeed, the last segment was -- FINALLY !!! -- interesting and moving. It might seem that it was a short subject, of less than an hour, unduly stretched to some 90 minutes. Now, about the set-up (a «scientific» observation on the behavior of single males in their kitchen): at first it seemed very promising –- with the charting out of the comings and goings of bachelors in their kitchen as a means to determine what new inventions would be most useful to come up with. But very quickly this premise turned out to be just a prologue, an «excuse» to introduce the real subject which was only fully developed towards the end and which was about loneliness and the invaluable bond of friendship. Pity ! I honestly wanted to like that movie. Yes, it seemed so promising when I heard about some of its unusual little «anecdotes» -- which were indeed there and which I enjoyed -– such as the burning of a man’s nose hair (instead of using scissors to cut it off), the «investment» of having a huge quantity of «valuable» black pepper stacked away in a barn, the role reversals (the observant becoming the observed), a man’s mouth emitting sounds from a radio program. And there is also a sick horse becoming the catalyst of half-hidden human despair, the relative importance of right or left side car driving in Sweden and Norway (a reflection of the importance for each of these very close neighboring countries to affirm its individuality ?). Am I the sole person who did not fully enjoy that film ? Does this necessarily mean that I'm wrong ? Perhaps it’s almost generally praised «fine points» were, in fact, «too subtle» for me ? Perhaps... Could my individual views on this movie ironically reflect the very essence of the film itself -- which would be the vital necessity to have the right to differ, to affirm one’s individuality and not to follow blindly society’s trends and opinions ? Each one of us has the right to have different personal views and not to be a slave of the demands of one’s bread-winning «dictatorial» demands: often, we do have other alternatives that would allow each one of us to be useful to our society while respecting one’s inner principles. In short, being true to oneself -– the way that in that film Folke (Isak’s «scientific observer») ends up by giving up his job while preferring to stay in his new friend Isak’s house and help his out with the tasks of his farm ... And so, «Vive la différence», as the French say !

majic-5 This seems to be my week for male buddy movies. At the loud and exotic end of the spectrum was The Matador. Kitchen Stories lands at the quiet, domestic, and droll end. This is a slow, slight movie, almost completely predictable, and whose premise requires a large suspension of disbelief. But it taps into such a strong human desire — the need for companionship — that you can overlook these flaws, and enjoy its gentle humor and warm heart.I would write more if I had something extra to add to the existing universe of reviews about this movie. The critic James Berardinelli, however, has captured the essence of my reaction well, so I'll leave further commentary to him: http://movie-reviews.colossus.net/movies/k/kitchen_stories.html.

MartinHafer When I picked up this DVD, I noticed two prominent words on the front--"Hilarious" and "Funny". After seeing the film, I think these are both completely inappropriate descriptions of the film. So, of course, some advertising idiots decided to promote this as a hilarious comedy, even though this did not appear to be the intention of those who made the movie! There are a few mildly funny moments, but it just isn't a comedy. Instead, it's a slight slice of life film about a Swedish company that prides itself on scientifically investigating EVERYTHING there is about kitchens. The story centers on one of their studies which is done with Norwegian bachelors. They decided to send observers into these kitchens and passively watch and record the movement patterns of these men. The observers and observed are under strict orders NOT to interact in any way.This story centers on one home. At first, the bachelor doesn't want to even allow the observer in the home. Then, once he begrudgingly lets him in, their relationship is pretty tense. However, over time it is natural that a bond is created between them. The acting is good and the story generally pretty compelling. Not a bad little unusual film, but for some reason the writers decided to end the movie on a down note--I can understand the choice, but don't agree with it at all.

George Parker In "Kitchen Stories" a Swedish company sends a male research observer to do time and motion studies of an old Norwegian farmer in his kitchen in an attempt to design a more efficient standardized kitchen. The film is all about this sort of "odd couple", one Swede and one Norwegian (circa 1950), who manage to carve a friendship out of little more than proximity during a bleak Norwegian winter. A subtitled foreign light comedy with little to offer save its very wry underpinnings and pleasingly poignant tale, "Kitchen Stories" is a not-for-everyone film which with appeal most to those into quaint and off beat little foreign flicks. (B-)