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Gordon Ramsay to School Bradley Cooper for 'Chef' Film

Gordon Ramsay to School Bradley Cooper for 'Chef' Film

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Not to be confused with Jon Favreau's film 'Chef'

PR Newswire/Newscom/Jaguar PS/Shutterstock

Well, if Bradley Cooper's film Chef wants an edge over Jon Favreau's Chef, both of which are presenting at the Cannes International Film Festival and deal with a chef looking for a second chance, it may just have that in the form of Gordon Ramsay.

The Sun reports that Ramsay has been talking about consulting on the film, as he and Cooper are both signed to LA"s Creative Artists Agency. Cooper, who is starring as a Parisian chef Adam Jones who is trying to get clean and open a three-Micehlin-star restaurant, will then be getting some cooking classes from the chef.

"Gordon’s going to be giving Bradley a crash-course in cookery and teaching him some flash tricks like knife-work so Bradley looks like an experienced chef," a source told The Sun.

Of course, Ramsay may just get a cameo in the film as well; he is a television star after all. Your move, Jon Favreau.

‘Burnt’ Is Quite Possibly the Worst Food Movie Ever Made

Welcome back to Friday afternoon. Although this newsletter is usually a place to find recommendations for shows to watch over the weekend, this week’s issue is a little bit different. As I did last summer, I decided to use a mellow week in TV land to check out a major food film that I’d never seen before. Little did I know that the movie in question would turn out to be a strong contender for worst food film of all time. And yet, as bad as this movie is, I think it’s a fascinating one to watch, and an important document of how chefs have been portrayed on screen for far too long. Here, without any further ado, are some thoughts on the colossal cinematic turkey known as Burnt.

Bradley Cooper is a once-successful chef who’s trying to get his career cooking again in Burnt

OK, everyone, look busy here comes the chef – the shouty alpha male, the guy in the immaculate whites obsessing over the precise triangulation of three lamb cutlets, the fuming perfectionist who throws hot pans at quaking underlings.

Remember Louis, the chef in Disney’s The Little Mermaid, the cleaver-wielding French sadist who terrorises Sebastian the Crab and smashes up his own kitchen? He’s more a cliché than a real person – but since Marco Pierre White established the breed in White Heat, and Gordon Ramsay turned it into a vaudeville act, the chef as rudey-moody‑foodie is a hot figure in modern culture. This week Bradley Cooper fills the role in Burnt, playing Adam Jones, once “the toast of Paris” with two Michelin stars, until he hurtled gutterwards in a torrent of drink and drugs. He arrives in London hoping to transform a fading restaurant through haute cuisine.

Cooper sulks, glowers and yells at his sous-chefs like JK Simmons in Whiplash but you just know his real journey isn’t culinary. You know he’ll have to learn there’s more to personal growth than putting oyster emulsion on a scallop. The original title of Burnt was Chef, but that was bagged a year ago for a film by Jon Favreau, who wrote, produced, directed and starred, playing Carl Casper, head of an upscale LA restaurant. He is an enthusiastic sharer and feeder, matey and collegiate with his sous-chefs, but he argues with the owner (Dustin Hoffman), who wants simple, popular classic dishes and tells him: “You wanna be an artist, be an artist on your own time.”

Carl splits, returns to his native Miami where he acquires a knackered taco truck and hits the road selling Cuban sandwiches to lines of ecstatic Louisianan and Texan locals. “I get to touch people’s lives with what I do,” he tells his estranged son, “And I love it.” We have divergent paradigms here. Adam is God-like, faintly absurd (at one stage he tries to suffocate himself using a sous-vide bag) and cares about nobody but himself, while Carl is generous, open-hearted and nourishing. Movie chefs have always tended to be creatures of extremes, driven to madness or saintliness by their calling. In the last 30 years, the kitchen has become a laboratory of human transformation.

In Pope Francis’s favourite movie, Babette’s Feast (1987), adapted and directed by Gabriel Axel from the story by Karen Blixen, Stéphane Audran plays a buttoned-up Frenchwoman who comes to work gratis for two elderly sisters in a religious community in chilly 1870s Jutland. She has effectively exiled herself from her old life as head chef at the Café Anglais in Paris.

Babette wins 10,000 francs on the Lottery – but rather than return to the beau monde, she blows the lot on a banquet for the locals, who have never experienced such luxury before. The feast brings a kind of secular redemption to the community, a transformation from suspicion to joy. Babette is hailed as something more than a cook. “In paradise,” one sister tells her, “you will be the great artist God meant you to be.”

Like Water for Chocolate, Alfonso Arau’s 1991 movie of Laura Esquivel’s novel, takes to extremes the female-cook-as-transformer. Tita, the family’s youngest sister, bakes a wedding cake for her sister, Rosaura, and her husband Pedro, whom Tita should be marrying: her tears drop into the cake mix, and everyone who eats it at the wedding pukes up or suffers amorous yearnings. When she cooks another meal, a year later, her eldest sister becomes inflamed with lust and, while taking a shower, is abducted, naked and astride his horse, by an opportunistic soldier of the revolution. Whatever was in the recipe?

A diluted version of the theme was offered in Chocolat (2000) where, in 1950s Gascony, Juliette Binoche, goes head-to-head with the church and the mayor in starting up a chocolate shop at the beginning of Lent. She seems to know, quasi-mystically, what’s good for the townsfolk – mostly, chocolate is the answer, whether for spiritually repression or sexual frustration.

In No Reservations (2007), Catherine Zeta-Jones starts out as a hard-as-nails, intimidating Manhattan super-chef, who has to learn to be vulnerable so that handsome hunk Aaron Eckhart can enter her life (and take over her job).

Meanwhile, Helen Mirren, playing the Michelin-starred matron last year in The Hundred-Foot Journey, single-handedly healed racist/immigrant tensions in the French countryside by helping her Indian neighbour (and rival) to cook an omelette. When it comes to testing human character, you can forget the high school, the army or the superhero league: in modern movies, the kitchen is a more reliable index of who you are.

Critic’s Notebook: Before Bradley Cooper Got ‘Burnt,’ He Cooked in ‘Kitchen Confidential’

Long before he played a chef in 'Burnt,' Bradley Cooper played one on Fox's 'Kitchen Confidential,' which is available on Hulu — and worth a second look.

Daniel Fienberg

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If you find yourself walking down the New York City street on the Fox Lot, be sure to stop by Nolita , once the hippest eatery in Manhattan, but now just a background curio rewarding eagle-eyed fans of the artificial Big Apple.

Dedicated foodies will remember that pan-foreign restauranteur Pino was on the verge of closing Nolita back in 2005, only to get an unexpected respite when he scooped former bad boy chef Jack Bourdain off the scrap pile of uninspired sobriety and a kitschy red sauce Italian joint. Bourdain and his team of culinary eccentrics earned rave reviews despite a series of wacky misadventures including a daring mid-dinner robbery, accidentally serving a severed thumb to a critic and an unfortunate weekend detour into the dark world of brunch. But then, Nolita abruptly closed and Jack Bourdain was never heard from again.

Billboards around LA suggest that Bourdain has now made a return to the kitchen, still a bit of a rule-breaking rogue, though this time the critics haven’t been nearly as kind.

At least we’ll always have Nolita .

If early tracking is correct, the number of people planning to watch Bradley Cooper in Burnt this weekend is close to nil and if reviewers are correct, nobody will be missing much. The Hollywood Reporter‘s Jon Frosch called Burnt “half-baked” and his is far from the harshest reaction.

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'Burnt': Film Review

If Burnt vanishes after its release on Friday (October 30), perhaps its greatest achievement will be making at least a few viewers go, “Wait. Haven’t we seen Bradley Cooper do this before?” So kudos to Burnt for serving as an expensive tin anniversary present for Kitchen Confidential.

By this time 10 seasons ago, Fox had already pulled Kitchen Confidential from its schedule, following a third episode that drew only 3.38 million viewers, a number higher than either Grandfathered or The Grinder, both picked up for full seasons, drew in their most recent episodes. After sitting out November Sweeps, Kitchen Confidential returned for one out-of-sequence airing in which Fox tried desperately to capitalize on the Alias reunion between Cooper and Michael Vartain, hilariously hammy as a French chef. It fizzled and Kitchen Confidential left the network’s schedule for good, nine additional episodes in the can.

The instinct is to look at shows like Kitchen Confidential and say that they were ahead of their time. Based in the loosest possible way on Anthony Bourdain’s raucous memoir, the series was buried in the middle of TV’s ongoing food obsession, three years after NBC’s Emeril tanked, but only months after Gordon Ramsay yelling at people for poorly prepared scallops became a Fox institution.

Kitchen Confidential was not, in fact, ahead of its time. While Fox could probably put it after a cycle of Hell’s Kitchen and get slightly better numbers, the network could also just as easily put Kitchen Confidential on Tuesday night and get even lower ratings. But Kitchen Confidential was always, even at the time, a show that was in the wrong place, regardless of the time. Bourdain wrote an adult book about the swearing, sex, casual violence, sexism and disgusting food practices in nearly every kitchen in America and it went to a network where squirting blood from a severed digit was kosher, but swearing was a non-starter and screwing had to be boiled down to frequently repeated sequences of Jack and his paramour-of-the-week hurriedly rushing into a room as he tore off her shirt and the scene cut to black. Kitchen Confidential was a sanitized take on an unsanitized look at life behind-the-scenes in a restaurant and there will always be a lingering question of how the exact same writers, directors and stars could have handled this material on FX or, better yet, on HBO or Showtime. Kitchen Confidential really needed f-bombs, boobs and the kind of unblinking cooking candor that Burger King or Olive Garden ad buys would flee from.

A decade later, however, this safety scissors version of Kitchen Confidential still holds up amazingly well, the kind of comedy that would generate a torrent of Save Our Show blog posts if it launched and quickly was canned today.

Expecting it to have the darkness of Bourdain’s book was folly, but Fox’s Kitchen Confidential, developed by writer David Hemingson and produced and directed in early installments by Darren Star, is an immediately vivid and distinctive workplace comedy packed with believable kitchen politics and hierarchy, as well as more universal office bonhomie and collegial bickering. Its ensemble was heavily masculine, but it never wallowed in fratty hijinks and some of the female roles were standouts, especially when it came to guest stars. Today you can zip through the 13 episodes and there isn’t a single momentum-slowing dud, nor is there a character or performance misguided enough to derail the show.

Long before he was Movie Star Bradley Cooper or Oscar Nominee Bradley Cooper or Why Does He Keep Popping Up on Limitless Bradley Cooper, Cooper was just a guy from TV who was funny in Wedding Crashers, but Hollywood hadn’t exactly figured out how to use him. This should have offered a good template and, truthfully, the imaginary edgier cable version of the show probably would have solidified his image years before The Hangover. Although he was playing a tamped down version of Tony Bourdain’s rock star persona, Cooper conveyed ample charm, all with an underlying self-destructive streak, as a chef prone to recipe stealing and anti-vegetarian ranting. He had terrific chemistry with a string of weekly guest lays, kept some unlikable behavior fairly likable and he could have really shined if things were allowed to go darker.

Cooper mostly anchors Kitchen Confidential so that the craziness can go on around him and the supporting cast is just top-notch, with a lot of the humor coming from unexpected sources. Owain Yeoman, usually cast as Welsh beefcake, has moments of blustery lunacy as sous chef Steven, playing well off of John Cho’s more deadpan seafood expert and Nicholas Brendon’s flamboyant pastry chef. John Francis Daley gave the best of his fully grown post-Freaks & Geeks performances as the often-picked-on newbie in the kitchen and, on the veteran side of the cast, Frank Langella is brings great menace as Pino, even if he changes accents with seemingly every episode.

The standout on the female side of the cast is Erinn Hayes, who is sexy, tough and really sharp as a chef who either wants to bed Jack or take his job. Jaime King gives real sweetness to her bubble-headed blonde hostess and Bonnie Somerville fought off an inconsistently written character to land some good episodes, at least relative to the string of instantly failed sitcoms on her resume.

Guest stars, all solid, include John Larroquette, Jordana Spiro, Morena Baccarin, Lindsay Price and a dancing bunny (plus actual bunnies, not in the same episode).

Although it was a single-cam comedy, Kitchen Confidential shot in Los Angeles and took no particular advantage of the format. Most of the show took place in the versatile kitchen set that made room for some mobility, but was never used for any Goodfellas-style ambitious one-shot navigation, because Kitchen Confidential just never aimed that high. The food is well displayed throughout, but it’s not deliciously fetishized by our current Hannibal-ized standards.

Only four Kitchen Confidential episodes ever aired on Fox, but the entire run of the show has long been available online, finding a home on Hulu and six hours dedicated to watching or rewatching it are bound to be better than three or four hours going out to see Burnt, including parking, price and that annoying guy sitting next to you texting, “Why am I here. ” the entire movie.

A word of caution: Somehow the episode order got shaken up. I blame Fox for airing the ninth episode fourth for the Vartan of it all. If you watch Kitchen Confidential episodes in the order they autoplay on Hulu, several of the relationships, especially the one with Cooper and Hayes, are rendered nonsensical. Even out of continuity, it’s still probably better than Burnt. And keep an eye out for Nolita whenever a 20th Century Fox TV show goes to New York, but is too cheap to actually go to New York.


Bradley Cooper starring as a chef in a movie about food and how it reflects life. How can it miss? Exhibit A: Burnt, a cheerless and unappetizing plate of piffle that deserves to be smashed against a wall or at least sent back to the kitchen.

Director John Wells, who botched August: Osage County, and screenwriter Stephen Knight, who should know better (he wrote the brilliant Locke), cooked this mess up and they get all the ingredients wrong. On the surface, Cooper seems a good fit as Adam Jones, a dick-swing American expat who made his name in Paris and then let drugs bring him down. Now, off the junkie train and having done penance in New Orleans by humbly shucking oysters, a sober Adam picks London for a comeback and a chance to achieve his goal: lead a restaurant that earns the ultimate three Michelin stars.

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Though he’s pissed off everyone in his wake, Adam persuades his old enemy Tony (Daniel Bruhl) to turn over his own restaurant for Adam&rsquos redemption. For years, Tony has long yearned to get into Adam’s pants, a fact redundantly spelled out by Adam’s therapist (a wasted Emma Thompson). Anyway, Chef Adam builds his crew, including one woman, sous chef Helene (Sienna Miller), a single mom with no real purpose as a character except to give Adam a shot a true love.

Cooper and Miller, so fine in American Sniper, are here just dots to be connected in a script off a moldy menu of clichés about relapse and recovery. Cooper has been advised to ape the mannerisms of reality-show chef Gordon Ramsey, yelling, throwing things and ending every sentence with a nasty, rhetorical, “yeah.” As in, “You’re an idiot, yeah?” or “Get out of my face, yeah?”

This is one stupid, soggy movie, yeah? Adam is such a loathsome, self-pitying human being that you almost root for him to fail, Worse, Burnt gets the food sinfully wrong. The whole premise of this sinking cinematic soufflé is that Adam is an artist with gastronomy. But we never know what goes into his art. We see plates fly by, skillfully arranged turbot, scallops and filets, edited in such a manic blur by Nick Moore that we never get a good look at anything, much less what it tells us about Adam.

Jon Favreau’s underrated Chef made food a representation of the chef’s soul. The same goes for Ratatouille, Babette’s Feast and the classic Big Night. God really is there in the details. The unsavory truth about Burnt is that there is no there there. Adam’s dishes have no personality, no passion, no reason for being &mdash just like this movie. It’s a recipe for cinematic indigestion.

Burnt review: Bradley Cooper is a shouty Gordon Ramsay chef in this food porn drama

Bradley Cooper isn't the type who can't stand the heat of the kitchen he actually craves it in Burnt. The movie is an unusually pitched portrait of a culinary genius from the Gordon Ramsay school of shouty chefs who needs to learn to, like, chill out. But that high energy never fully translates to the screen.

There's nothing wrong with Cooper's performance. He's still got that dangerous spark about him, an air of unpredictability that has made him fun to watch since Silver Linings Playbook and he confidently leads a talented international cast as the cranky cooksmith, Adam Jones. He arrives in London after a period of reflection, having alienated everyone he's ever known thanks to a years-long bender on booze and coke. He's sober now, but here's the thing: he's still a bit of a git.

Jones twists arms to become resident chef at the prestigious Langham working for his ex-boss (a camp Daniel Brühl). Before long he's roped in grudging old cohort Michel (Omar Sy) and gets up-and-comer Helene (Sienna Miller) fired from across town to work her special brand of magic in his own kitchen &ndash and presumably his hotel room, too.

All this is about inflating his bruised ego and winning a coveted three Michelin stars. Still, you just know that, like a dark chocolate fondant, there's a melting middle waiting to ooze out. And it's obvious who'll be there to slurp it up. Miller doesn't have much else to do except exude the necessary warmth. Alicia Vikander (The Man from UNCLE) pops up a couple of times &ndash for no good reason &ndash as an old flame. Uma Thurman? Blink and you'll miss her.

Helene is the obvious route to redemption and as much as director John Wells tries to sidestep mushiness, he also gives a wide berth to any kind of meaty one-on-one drama. As the writer/producer of TV hits like ER and Southland &ndash and with a script from Oscar nominee Steven Knight (Dirty Pretty Things) &ndash you'd expect great steaming bowls of human conflict and instead you get a lightly flavoured broth.

Emma Thompson is the therapist who's supposed to draw out some of Jones's demons, but there isn't much beneath the surface for her to get at and Jones throwing plates against the wall only serves to make him look a bit childish and silly.

For the MasterChef crowd, there's plenty of food porn &ndash with dishes designed by Marcus Waring (who served as a consultant) &ndash but, still, you may find it isn't as juicy a treat as Jon Favreau's recent Chef, or underrated Stanley Tucci starrer Big Night. Those films celebrated food with lip-smacking relish and the way it can bring people together, whereas this one focuses on the stress of high-level cookery &ndash the oh-so painful precision for someone who is already obsessive compulsive.

There's nothing wrong with that except Knight and Wells only scrape the surface, like a piece of burnt toast. Then they load it up with some sweetness (oops, not too much) and a few sour notes (Jones is harassed by thugs he owes money to). There's just a lot going on and yet, it still doesn't fill you up.

Two Chefs and beyond – how gastro porn hit the big screen

A spanner in the works for Bradley Cooper's new film, Chef, in the flabby shape of Jon Favreau's latest offering, erm, Chef. Favreau's enjoyable if schmaltzy flick pipped Cooper's, leaving Cooper's to be deed-polled to the none-too-catchy Adam Jones. If anything marks the recent surge in gastro-nerdery from the niche to the middle-ground it's the arrival of two films called Chef.

Ratatouille … had chef Thomas Keller as a consultant.

Granted, Cooper's Chef, or rather, Adam Jones, hasn't started shooting yet, but in Hollywood terms this is fairly quick succession. The film industry has licked a salty finger, stuck it skyward, and ascertained that what we want to see on the big screen is food. Big, pornographic plates of food. Emmental-laden as Chef was, a sybarite is unlikely to have been able to resist the graphic images of oil squizzing over pork and pickles, sensually spooned sauce on glossy meat, and the most outrageously amplified audio of a man eating a toasted cheese sandwich you are ever likely to hear.

Big Night … with Tony Shalhoub & Stanley Tucci. Photograph: Allstar Picture Library

Moreover, to appeal to the food geeks of this world – which, if the execs of Hollywood are right, is all of us – these films are bringing in some big names as consultants. "Food truck pioneer" Roy Choi oversaw every culinary aspect of Chef, sending Favreau to cooking school and throwing him into the line in several of his own kitchens. Meanwhile, the stars of Adam Jones spent time under the gun-metal gaze of Marcus Wareing learning to chop like a pro.

Films set to the backdrop of food are nothing new, nor is thorough, near-obsessive research for a role – just ask Dick Van Dyke (or do I mean Daniel Day-Lewis?) – and yet this new meticulous drive for the cooking in films to be echt seems to be another important marker in arcane foodism's move into the mainstream. Traditionally, food cinema has been far more conventional and in keeping with the accepted view of restaurants. Take Ratatouille, on which chef Thomas Keller was a consultant. Its plausible brigade, its volatile chef, its pre-packaged food, the knowing wink of a waiter on roller blades, and a Proustian moment to finish it all off, all conform to how we feel restaurants should be. Sure, the kitchen is improbably stunning, the chef perhaps a little too caricatured, and, well, it's about a cooking rat, but the picture rings true at least with a cliched ideal.

Similarly, the 1996 film Big Night, while never feeling like an overwrought manifestation of a real restaurant, nevertheless portrays a level of authenticity with which it is easy to empathise – the tumbleweed quiet of a neighbourhood restaurant, the false promise of the arrival of a celebrity to help turn your humble gaff into the next Chiltern Firehouse, and the halfwit punter who wants a side of spaghetti with their risotto. Stanley Tucci's maître d' grins and bears it chef, not so much ("she's a criminal, I want to talk to her").

There have been shockers, too. Love's Kitchen with its excruciating Gordon Ramsay cameo, or Catherine Zeta-Jones's No Reservations, about which the critics had more than a few. But then there's Eat Drink Man Woman and Babette's Feast and countless other films in which stunning food provides texture and context for a good story.

But we're all foodies now, and thus food cinema moves with the times. Perhaps Babette's Feast would have been different had Twitter existed in 1987. Maybe Remy the Rat would have been an Instagram sensation. We'll never know. What is certain is that the polish and shine of modern food imagery is becoming ever more widespread. No longer can we only find our food porn in glossy magazines, grainy phone images or snatched lunchtime sessions on YouTube. Gastro porn has hit the big screen. It's all rather exciting, but then again, sometimes I'm just as happy with a plate of ratatouille.

Cooper first tried to make a cake inspired by Ramsay back in August

Cooper, who is currently studying computer science at Columbia University in New York City, told Insider that her first Ramsay attempt was actually the first "human face cake" she had ever made.

"I had just joined TikTok and I saw an advertisement on the Explore page for something called 'Ramsay Reacts,'" she recalled, referring to Ramsay's TikTok series reacting to cooking videos from fans.

"I have always loved and idolized Gordon Ramsay so when I saw that, I thought of how I could contribute to the trend and create something worthy of capturing Ramsay's attention," she said. "A cake of Gordon's face just sounded like such a fun idea to me, so I went with it."

Cooper's clip did catch Ramsay's attention, and his reaction video to her cake received more than 24.4 million views.

"If that's my face then you need to get your eyes checked!" he wrote in the caption of the clip.

"Oh lord, no, really? What is that?" Ramsay exclaimed as Cooper sculpted his face on the cake. "Ugh, Halloween!"

"My darling, you've got the wrong Scot, that looks like Gerry Butler!" he added, referring to the Scottish actor Gerard Butler. "Or my granddad, but he died 10 years ago!"

Cooper said she was "thrilled" when she saw that Ramsay had roasted her the first time.

"I remember checking my phone after returning from a hike to see my video flooded with comments that he had reacted to my cake," she told Insider. "Even though he roasted me, I was ecstatic. I watched him on TV growing up since I was a kid, and he noticed something that I made!"

American truffle: Bradley Cooper plays a tortured chef in first trailer for Burnt

After Oscar nominations for three years running, Bradley Cooper is hoping to impress the Academy again with a lead role in Burnt.

Originally titled Chef, before Jon Favreau stole his thunder, and then the rather bland Adam Jones, Cooper’s latest film sees him star as a chef at the top of his game who then loses it all. In an attempt to regain his reputation, he works his way back to the top with a new restaurant in London.

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The first trailer hints at a major focus on food porn (every other shot looks like an Instagram post) and a starry supporting cast, including Cooper’s American Sniper wife Sienna Miller, Jamie Dornan, Uma Thurman, Emma Thompson, Alicia Vikander, Omar Sy and Daniel Brühl. Cooper’s played a chef before, in the failed 2005 series Kitchen Confidential, but he’s hoping this one doesn’t get sent back with complaints.

It’s directed by John Wells, whose last film was Oscar bait drama August: Osage County and scripted by Steven Knight, who was most recently behind the Tom Hardy thriller Locke.

Watch the video: MasterChef 5. Το εμπνευσμένο πιάτο από τον Γκόρντον Ράμσεϊ (May 2022).