Le goût de la vie

"No Reservations" is a sweet movie about love and cooking. It's about Kate, played by Catherine Zeta-Jones, who is a very good chef and likes things her way in the kitchen. Then Nick, played by Aaron Eckhart, comes along. He's fun and likes to cook differently. They start to like each other.

Things change for Kate when she has to take care of her niece, Zoe. Kate's life gets a bit messy, like her neat kitchen, as she figures out how to be like a mom to Zoe and deal with her feelings for Nick.

The movie shows lots of yummy food and has pretty pictures of the kitchen and the food. Kate and Nick look good together, and Zoe is very cute. The movie feels like other love stories but has its own special taste because of the actors and the nice food.

In the end, "No Reservations" is like a good meal that makes you happy. It tells us that sometimes good things happen when we don't plan for them, and waiting for love is like waiting for a good meal to cook. Enjoy the movie!

"No Reservations" is not a great film, nor does it pretend to be. It is very predictable and follows the formula used in countless other movies. Despite that, it give you everything you want from this type of film and is better than many of the sequels that have come out this year.

Catherine Zeta Jones is as beautiful as ever. There is a nice dose of Verdi and Puccini opera arias, and Abigail Breslin steals the film like she did with "Little Miss Sunshine." I have not liked Aaron Eckert in the past, but in this film he brings happiness to the otherwise dour Zeta Jones.

Some of the professional critics said they like the original German film "Mostly Martha" better, but I thought that "No reservations" improved on the original in every possible way. The only valid criticism I could find was that Catherine Zeta Jones is too beautiful to be believable as a lonely chef. That is a flaw I can live with.

If you are looking for a break from the so-called Summer "action" films, "No Reservations" is not very original, but it certainly fits the bill. The only drawback is that you will definitely leave the theater feeling really hungry for good food.

Despite what I recall of the advertising campaign last year, this soft-hearted 2007 film is far less a Food Network-derived romantic comedy than a Lifetime-oriented drama about grief and work/life balance. Directed by Scott Hicks ("Shine") and written by first-timer Carol Fuchs, this film offers the most insightful peek into the workings of an upscale Manhattan restaurant since 2000's "Dinner Rush" (i.e., if you don't count last year's CGI-generated, French food-fest, "Ratatouille"), but it also seems intent in splintering the story between the romantic sparks between the co-stars and the unexpected relationship that a single aunt forms with her orphaned niece. The result is heartwarming but rather diluted considering the potential inherent in the material presented. Hicks and Fuchs also seem intent on inserting predictable clichés along the way to reinforce the formulaic approach taken with the story.

Basically a remake of the 2001 German comedy, "Mostly Martha", the plot centers on perfectionist chef Kate who runs a tightly efficient kitchen in a chic SoHo bistro. As a resolute overachiever, she is able to get up before dawn to get to the fish market and stay late at the restaurant making her impeccably presented dishes until closing. So tightly wound is Kate that restaurant owner Paula forces her to see a therapist to address her supposedly difficult personality. This is the first of several disconnects I had with the film as Kate strikes me as demanding but not particularly abusive to her staff. 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. As if that wasn't enough, Paula has hired Nick, a rowdy opera-loving sous-chef, to partner with Kate as she struggles with her personal transition at home. Taking a number from the Tracy-Hepburn manual for romantic comedy, tempers flare as do sparks. Zoe's recovery from her mother's death becomes a complicating factor, but the rest of the story plays out basically how you would presume.

More interesting in edgier, less sympathetic roles, Catherine Zeta-Jones plays the icier aspects of her role well, but she is markedly less arresting when her character turns warm and gooey. The script also doesn't really respect her character much since she is made to look overly foolish and insensitive in her early scenes as a struggling mother figure. Aaron Eckhart seems to be playing more of a plot device as Nick, but he does it well, and the requisite sparks occur with Zeta-Jones. Cornering the market on playing put-upon children, Abigail Breslin is fine as Zoe, even though she has to be glumly depressed for much of the film. 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. Stuart Dryburgh's autumnal cinematography makes all the food look good, the stars as well, and minimalist composer Philip Glass, of all people, provided the unobtrusive soundtrack dominated by Puccini, Verdi, and Flotow arias. The most significant bonus item on the 2008 DVD is a twenty-minute episode of the Food Network's "Unwrapped" which includes interviews with the film's stars and the real chefs who concocted the dishes in the movie.

It's so rare nowadays to watch a romantic comedy different, we were surprised to find that with such copies. You are right that No Reservations is no original comedy, as is the Hollywood version for the long German 2001 Bella Martha. The movie from the beginning of the last decade has several qualities, knowing being lightweight and emotional in the right measure, receiving rave reviews around the world. What happens is that the Hollywood version for most adaptations, there is clearly a loss of essential characteristics of the original, due to a more commercial film. But here, this remake emerges as one of the pleasant surprises of the year in the genre, for his part very technical and extremely mingled his cast. Director Scott Hicks - who led numerous documentaries and won recognition for being ahead of Shine(1996) with Geoffrey Rush, and while driving other good movies like Snow Falling on Cedars (1999) and Hearts in Atlantis (2001) - brings a dramedy exciting, with good moments of humor and all conducted with great delicacy.

Kate Armstrong (Catherine Zeta-Jones) is the chef of an upscale Manhattan restaurant, owned by Paula (Patricia Clarkson). She takes her job very seriously, which makes people around him with his intimidating way. His perfectionist nature is put to the test when he's hired Nick (Aaron Eckhart), a lively sous trying to cheer everyone up in the kitchen and enjoys listening to opera while working. While Kate must deal with the sudden arrival of Zoe (Abigail Breslin), a 9 year old niece, who feels displaced in routine aunt.

It is interesting to see that the script newcomer Carol Fuchs, search over this new version as much focus in the relationship of Kate, yet the relationship with your niece has a prominent role. Kate's character is well developed and in the first few scenes we can see your way of thinking and acting. She is a woman who for some years has no relationship. One reason for this is their way controller and defensive with men and all who try to approach her. Kate loves her job and is focused almost entirely to him. At one point she says: "This work is my life." She lives a few blocks from the restaurant where he works. It is easy to see that she is very lonely, methodical, and follows a routine religiously. It is full of its own rules that hinder a relationship with another person, not accepting certain behaviors, for example, going to a neighbor who is clearly in love with her.

Fuchs writes a screenplay with ups and downs. Despite being very good, and having a good pace in the narrative, the writer can not evade some clichés and predictability that mark the dramatic comedies. In the first few scenes, it is not difficult to perceive how the movie will end. Both the relationship of Kate and Nick, as in Kate and Zoe. Even with all this, the film ends up being one of the best options in recent years, leading the viewer, who engages in this delightful work. The script also knew how to work the game of opposites. While Kate is methodical, serious, perfectionist, full of quirks, rules and closed to everything and everyone, his sister is more expansive. In the few scenes where it appears at the beginning of the film when they are on the way to Kate's house, and during the home videos that show with Zoe, now you can see his joy of living, and how it was harmonious and loving relationship with his daughter . It is precisely the arrival of opposites in the life of Kate, who make it and become more open to people. The two opposites are her niece Zoe and sous chef Nick.

Another merit of bringing radical changes in the life of a natural and progressive, never forcing a sudden change of behavior. After the fateful event in the life of the family, we see Kate slowly learning to take more responsibility had never handled before. Now she had to live with her niece, whom he has not seen for a long time and with whom he had much contact. Kate has to go slowly gaining a relationship of friendship and love with his niece, and starting to worry about feeding the girl, taking her to school, get her to sleep early, and mainly to help her overcome the recent death of his mother. To give credibility to a difficult character, Catherine Zeta-Jones - who has won the supporting actress Oscar for Chicago (2002) - does very well and shows that besides the obvious beauty, was competent to show the inner transformation of Kate compared to changes Latest in your life.

Aaron Eckhart once again composes his role so captivating. The talented actor who excelled in Thank You for Smoking (2005) director Jason Reitman, shows its versatility and charisma to lend sympathy to Nick and joie de vivre huge, conquering the audience and the other characters immediately. Already the young Abigail Breslin - Oscar nominated in 2006 for her role as Olive Hoover in Little Miss Sunshine - once again demonstrates talent and mastery on the scene. Despite being a genre already known by the actress, she was responsible for many of the dramatic scenes of the film. Breslin knew moving to a character that the audience at the beginning and was glad that it was extremely attached to his mother, and then you can show all your talent in the new phase of life for Zoe. Still really miss the mother, Zoe has to get used to a completely new life beside the aunt. The girl oscillates between moments of sadness for the death of the mother, lack a brother figure and rebellious pre-teen. The meshing of the main trio is the main ingredient that makes this movie work.

A critical piece that engages the viewer is the wonderful soundtrack by Philip Glass (The Hours (2002), The Illusionist (2006) and Notes on a Scandal (2006)) that is sensitive, exciting and beautiful, totally adjusted to the environment sophisticated and romantic that the film demanded. The track with pianos and strings being played constantly in the background everyday inside that packs the restaurant kitchen. It's like a live classical music to touch inside the restaurant all the time. Editing Pip Karmel is not as far-fetched and the slower pace of the film also did not ask for it. The assembler interim knew well the scenes with the therapist represented by Bob Balaban, with the events of the life of Kate. Meanwhile, photography Stuart Dryburgh managed to pass a climate colder and romantic Manhattan, with great indoor night scenes, with the right to talk next to a fireplace. Importantly the construction of apartment Kate and scenarios of the restaurant, which also act as characters in the narrative. The environments created by the art direction of W. Steven Graham, are cozy and charming.

The direction of Hicks is correct, it follows the formula of the genre without daring. Their frameworks are well studied and performed, giving a touch of delicacy even bigger dramas. Although there are strong themes such as death and a girl you have to deal with it, everything is put more subjectively. Everything is handled with lightness and romance does not suffer from overeating and appealing scenes. Adding all the great professionals, this delightful comedy drama is mandatory.

Very likable even for a formula romcom, mainly because of the terrific casting and performances of the actors.

The forever beautiful and talented Catherine Zeta-Jones (Chicago, The Mask of Zorro) is spot on as Kate, a workaholic chef at hoity toity 22 Bleeker. Kate unexpectedly inherits her niece Zoe, played tremendously well by Abigail Breslin (Little Miss Sunshine). Real-life motherhood must have enabled Zeta-Jones to show her softer side with the restraint her character called for.

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. Nick is Kate's quintessential opposite and eventually helps her sort out her trust issues and even enhances her parenting skills.

It is refreshing to see CZJ back on the silver screen where she belongs, and playing a non-glamorous character for once, even sans makeup in some scenes. At 38 years old, that is a brave feat indeed (and this courage is consistent with all the flawed characters she likes to play).

Her on screen chemistry with Eckhart is positively sizzling, and his cockiness to her coolness effectively makes you forget about the trite plot. While Zeta-Jones has also been criticized for being too beautiful for the role of a lonely chef, that is actually one of the ironies of life that this movie uncovers: beauty and talent doesn't really guarantee bliss.

Despite the awful MTV-like montage of the trio grocery shopping and the rest of the unspectacular elements, overall, the movie makes you feel for the characters. You leave the cinema all warm and fuzzy, and that makes the execution of No Reservations a success.