X
- 2017
- R
- The Orchard
- 2 h
- 2017
- R
- The Orchard
- 2 h
Summary When Stan Lohman (Richard Gere), a popular congressman running for governor, invites his troubled younger brother Paul (Steve Coogan) and his wife Claire (Laura Linney) to join him and his wife Katelyn (Rebecca Hall) for dinner at one of the town’s most fashionable restaurants, the stage is set for a tense night. While Stan and Paul have...
Directed By: Oren Moverman
Written By: Herman Koch, Oren Moverman
- 2017
- R
- The Orchard
- 2 h
- 2017
- R
- The Orchard
- 2 h
The Dinner
57
4.7
Where to Watch
Summary When Stan Lohman (Richard Gere), a popular congressman running for governor, invites his troubled younger brother Paul (Steve Coogan) and his wife Claire (Laura Linney) to join him and his wife Katelyn (Rebecca Hall) for dinner at one of the town’s most fashionable restaurants, the stage is set for a tense night. While Stan and Paul have...
Directed By: Oren Moverman
Written By: Herman Koch, Oren Moverman
Where to Watch
Top Cast
Metascore
Mixed or Average
Based on 30 Critic Reviews
57
40% Positive
12 Reviews
12 Reviews
50% Mixed
15 Reviews
15 Reviews
10% Negative
3 Reviews
3 Reviews
Metascore
Mixed or Average
Based on 30 Critic Reviews
57
40% Positive
12 Reviews
12 Reviews
50% Mixed
15 Reviews
15 Reviews
10% Negative
3 Reviews
3 Reviews
Moverman balances the potential for staginess with his flowing cinematic bravura; he keeps surprising you, and he gives the drama a dash of poison elegance.
As you might expect from this cast, all four leads are simply outstanding.
User Score
Mixed or Average
Based on 26 User Ratings
4.7
19% Positive
5 Ratings
5 Ratings
42% Mixed
11 Ratings
11 Ratings
38% Negative
10 Ratings
10 Ratings
User Score
Mixed or Average
Based on 26 User Ratings
4.7
19% Positive
5 Ratings
5 Ratings
42% Mixed
11 Ratings
11 Ratings
38% Negative
10 Ratings
10 Ratings
Ähnlich wie in Roman Polanskis Theateradaption Der Gott des Gemetzels diskutieren auch in The Dinner überforderte Eltern beim Essen das gewalttätige Fehlverhalten ihrer Kinder aus – nur dass man hier keinen Stein geworfen, sondern eine Obdachlose angezündet hat. So ist die Buchverfilmung passend zur finsteren Ausgangssituation auch keine bissige Komödie, sondern ein beinhartes Drama. Dabei geht Oren Movermans Sozialsatire voll an die Nieren: Das resultiert neben lockeren Tischthemen wie Mord, Lungenkrebs und Erb-Psychosen auch aus einer künstlerischen, bisweilen arg anstrengenden Inszenierung: Moverman hüllt sein Psychodrama in trübes Dämmerlicht, legt einen Tinitus-artigen Score darüber und erhellt in plötzlichen, teils schwer zu folgenden Flashbacks die traumatische Vergangenheit der Figuren. Genau hier aber liegt die Faszination von The Dinner – denn was unten brodelt, treibt nur nach und nach an die Oberfläche und kulminiert in einem bitterbösen Finale. Die Schauspieler derweil sind fantastisch – vor allem Steve Coogan zeigt als schwer angeknackster Zyniker eine der besten Leistungen seiner Karriere.
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Actors and movies constantly amaze, amuse and befuddle me. I know actors have no say about when their movies will appear in theatres but in the past week two of Richard Gere’s latest movies appeared at The Gateway Theatre and shows why he has been a major star for over 40 years. In the first movie “Norman” (see my review Wednesday, May 3) he plays a New York City ‘fixer’, schemer while in today’s film, “The Dinner” he is a Congressman running for Governor and he is completely two different men in appearance, acting and persona.
I really never know what to expect from a movie as I very seldom read reviews before I go see one and generally will pick a movie based on the cast and/or any vibes I picked up about it regarding genre and story. “The Dinner” has a major cast of Gere, Laura Linney, who I have never seen give a bad performance and, mostly, as she does in this film, gives an outstanding performance, Steve Coogan, a strong actor and Rebecca Hall who I had seen in a few movies and seemed to be waiting for that breakout role.
Gere, married to his second wife Hall, and Coogan, married to Linney, are brothers whose mother favored the former while the latter seems to have inherited the mental illness he has from her. Coogan and Linney have a teenage son Mike (Charlie Plummer) while Gere has had a son, Rick (Seamus Davey-Fitzpatrick) whom he had with his first wife Chloe Sevigny and Gere and Hall have an adopted Black son which may or may not be a child Gere and his loyal aide, Adepero Oduye, had.
The two brothers and their wives are meeting in a very upper scale restaurant in a mansion where each course is explained as it is being served and you know that the cost would be prohibitive to 99% of the people. At the very beginning Coogan remarks about the cost of a bottle of wine being sinful. The purpose of the meeting finally comes to light and the questions the film wants to ask are that of how much will/would a parent do to protect their child, how much of an obligation do they have to their families and what should they do or not do.
Though “The Dinner” is based on a novel by Herman Koch it is almost as if the director/screenwriter Oren Moverman had taken a play and wanted to ‘open’ it up. Flashbacks to earlier years, to events that happened earlier in the evening, a trip to the Gettysburg battlefields, many voiceovers, to classroom scenes of Coogan, who was a teacher of history, plus the dinner itself blurs what should have been a linear telling instead of losing its focus.
Now as a man who loves food even the restaurant scenes become dull as they are all over the place as for different reasons the party of 4 is moved from room to room and the descriptions of the plates soon blend into each other.
Many times the direction by Moverman, the cinematography by Bobby Bukowski and the music by Elijah Brueggemann are disconcerting to what is taking place on the screen.
The acting of the cast in “The Dinner” is certainly consistently top rate and reasons enough to see the film plus I need someone to explain the ending to me!
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Moverman’s discordant structure constantly veers from clumsy moments to fascinating exchanges. As an experiment, it never finds a complete shape, and ends on a frustratingly abrupt note.
A high-carat cast...tears into the juicy material with relish for the most part, but by trying to keep the prolonged sit-down affair from becoming excessively stagey, Moverman adds too many distracting flashbacks to maintain the original’s hard-hitting and well-aimed gut punch.
On paper, writer-director Oren Moverman’s The Dinner has all the ingredients for what should be a four-star feast. But from the opening course, it’s clear that something has gone wrong in the kitchen. Moverman, the chef, has tried to make his creation too clever and complicated.
You get the sense that Moverman may just have bitten off a little more than he can chew.
The sclerotic staginess of The Dinner means this is one to miss.
The acting was terrific. The story grabbed me enough to make me tolerate the flaws, e.g., the overused and repetitive flashbacks. So I watched the whole thing. Then suddenly it was over. I am not spoiling the ending here because there isn't one.
Filmmakers have to respect their audience's time. Two hours worth of mine, and this is what I get? No, not acceptable. Did you think it would be "cool" to have the film simply stop, with not a hint of resolution? I truly can't understand this. After going to the trouble of developing characters and a good story, how do you betray your own work like that? (How did these high-caliber actors sign on to it as such? Perhaps they were given a script with an ending, and you cut it later? That's the only thing that makes sense.I want to believe it, actually, because this acting ensemble included some of my favorite actors ....)
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There's a compelling dilemma at the center of this film, but all the pretentious crap that surrounds it makes it incoherent and frustrating. Two couples (Richard Gere, Laura Linney, Steve Coogan & Rebecca Hall) meet for a meal in a fancy restaurant to discuss how they're going to deal with the horrible crime that their teenage sons have committed. Intriguing. Then, narrative ramblings and other side trips dilute the narrative momentum and keep the drama from ever building. To make matters worse, the writing never rises to meet the complex nature of the scenario. The cast has strong moments, but they can't rise above the meager meal of a script.
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Oh please. A tally ridiculous blabfest saved only by Linney's usual superb work. Gere is leaden as always with brief moments of actual in character acting. The premise is good, but the execution is absurd. Coogan is awful. Why not wear a sign that says "Crazy" instead of the bug eyes and muttering? Why not name BO Boo Radley? Close the loop. To kill a homeless bag Lady . This should have been a one act play in a community theater.
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[SPOILER ALERT: This review contains spoilers.]
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Awards
Calcutta International Cult Film Festival
• 1 Win & 1 Nomination
Berlin International Film Festival
• 1 Nomination
CineLibri International Book and Movie Festival
• 1 Nomination
