whereas Steve McQueen's "Widows" is alive with an electric tension and features a powerfully understated performance from Viola Davis, "The Kitchen" squanders its strong cast in a routine, and sometimes unbelievable, story that never quite comes together
unlike such forebears as "Goodfellas" or "American Hustle", "The Kitchen" lacks the gravitas and subversive charge that characterizes the best gangster pictures; You might be able to stand “The Kitchen,” but it could use a little more heat
still, despite some major narrative missteps, the film's bold twist on the mob drama still has a refreshing quality. Maybe "The Kitchen" would have fared better as a series, with more time for its potential material to simmer
like so many films derived from the pictures and words of a graphic novel, "The Kitchen" feels perfunctory and sterile and under-detailed; even for a revenge-driven thriller in the vigilante spirit, this one's seriously hypocritical
despite the terrific trifecta of talents in its leads Melissa McCarthy , Tiffany Haddish, Elisabeth Moss, and the potential chemistry that offers, the movie provides little sizzle beyond its central conceit, thanks largely to clumsy editing
clumsy crime story The Kitchen is a waste of great actresses; By the time the script wends its way toward a bullet-riddled finale, you don't really care about the heat anymore; you just want to get out of "The Kitchen"
"The Kitchen", a late summer, female-led adaptation of a little-known DC comic, is the worst kind of bad movie; made with such careless abandon that anyone brave enough to buy a ticket should automatically ask for a refund
by Ann Hornaday [Washington Post ]
by Michael Phillips [Chicago Tribune ]
by Benjamin Lee [The Guardian ]
