No Reservations | 
| Director: Scott Hicks
Actors: Catherine Zeta-jones, Aaron Eckhart, Abigail Breslin, Patricia Clarkson, Jenny Wade
Studio: Castle Rock
This item is no longer available
Rating:  59 reviews
Sales Rank: 334
Genre: Comedy
Rating: PG (Parental Guidance Suggested)
Media: Video Download
Running Time: 105 Minutes
ASIN: B0013UIUBC
Theatrical Release Date: July 27, 2007
Release Date: August 4, 2008 (New: This Week)
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| Synopsis:
Want a perfectly prepared dish of tender quail in truffle sauce? Kate (Catherine Zeta-Jones), a workaholic master chef, can do that. But don’t ask her what to do about the free-spirited, opera-loving sous chef (Aaron Eckhart) who joins the staff of her upscale Manhattan restaurant. Or what to do about the orphaned niece (Abigail Breslin), more partial to fish sticks than foie gras, who comes to live with her. “I wish there was a cookbook for life, with recipes telling us exactly what to do,” Kate tells her therapist (Bob Balaban). A love of life (and of great food!) spices up this warm-hearted and funny tale about a woman discovering a world bigger than her kitchen. Come on in. Something new and different is cooking at Kate’s place. |
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| Customer Reviews: Read 54 more reviews...
See Kate cook December 22, 2007
Amanda Richards (Georgetown, Guyana)
39 out of 56 found this review helpful
Billed as a romantic comedy, there are two things you should know about this movie.
1. It's not a comedy
2. It isn't very romantic
Catherine Zeta-Jones plays Kate, an obsessive master chef who works so hard at her profession that she has no time for heating anything except pots and pans.
Abigail Breslin plays Zoe, Kate's niece. She's not feeling very sunshine-y since the tragic event that leads up to her having to live with Kate.
Aaron Eckhart plays Nick, an opera singing all around good guy who's hired as Kate's sous-chef without her prior approval.
Short Attention Span Summary (SASS)
See Kate cook
Cook, Kate, cook
See Zoe
Poor Zoe
Zoe has to live with Kate
Kate hasn't a clue
See Nick
Nick cooks too
See Nick and Kate cook
See Nick and Kate fight
See predictable ending
This is a very light movie that will be a good choice for spending a lazy afternoon watching cable when you've nothing better to do. Zeta-Jones is good, even though Eckhart steals every scene he's in, but the main attraction is the food. As a matter of fact, it's quite likely that you'll find yourself getting hungry for gourmet treats about half way through the movie.
Shallow but watchable, the thing that ruins this movie is that darned predictability thing.
Rated: 3.5 stars
Amanda Richards, December 22, 2007
 Food, drink, music, and taking a chance February 15, 2008
Judy K. Polhemus (Shreveport, LA)
25 out of 46 found this review helpful
Once upon a time there lived a grown-up woman, renowned in all the land for her fabulous cooking. But as is often true when someone excels in one area, that person lacks in all others. This remarkable chef (Catherine Zeta-Jones) has a lovely sister who excels in being a mom to daughter Zoe (Abigail Breslin). As is often the case these two sisters had a father unremarkable for being a nonexistent father. So these two sisters choose to live their lives without men.
Then a terrible thing happens: the mother/sister dies in a car accident, leaving Zoe with the aunt who is a chef also famed for keeping her distance from people. Enter Kate and Zoe, struggling to deal with first, the loss of their beloved, then this new situation and environment. Child and woman, these two, have difficulty meeting on a common ground. There is no spark, no warmth between them. It's not that Kate resents poor Zoe--she just cannot connect with her. It's not that Zoe resents Kate--she is just too sad.
Enter Nick, the slight-of-hand, the guy with the charm and wit, but good charm and sensitive wit, who can read people. He is the synapse who clicks the two--child and woman into a synergy of three people. The loveliest part of the movie is the time the three spend the day together, just doing and being.
Zoe needs to be loved, Kate needs only her job, and the restaurant owner needs a sous chef until Kate adjusts to her new role as a caretaker. Nick (Aaron Eckhart), the sous-chef needs to be needed, not that he is wimpy. He is quite gregarious and fun-loving, but he likes cooperation and congenial surroundings, light-heartedness amidst an often chaotic profession. Kate is all about being serious and professional.
When faced with change, people themselves must change or remain static and find themselves left behind specifically in relationships. When Nick begins to woo Kate, he is so cool. Instead of pouncing on her like a wild beast, he leaves her wanting more--just a kiss, just a kiss. Clever man!
The ending far surpasses what is expected and I will leave it at that. Aaron Eckhart brought exactly the right charisma to his role. He looks the part of a temperamental chef without being one. Catherine Zeta-Jones is finally showing just the blush of aging and it becomes her. She plays her reserve with just the right coolness, exhibiting just a trace of passion below the surface. Any child could have played the girl. On the verge of prepubescence, Abigail Breslin simply did not display her usual cuteness, whether the director, the role, or Abigail herself.
As much a part of the film as any character is the romance of food and wine and music, much of it opera arias with some Italian love songs thrown in. As a matter of fact, I have already ordered the CD. One of the female waitstaff walks through the kitchen to tell Nick that opera is great music for lovemaking just as he said. It certainly is when Kate and Nick finally do kiss. I kept wondering if Michael was watching his wife film this scene. It's a good one.
Not Academy Award material, but definitely date fare. And, oh husbands and wives, it might remind you of that first fire of your love for the other. A wonderfully pleasant little movie!
About the title: To eat in the restaurant in this story, one must make reservations. However, for love of any kind, no reservations are required.
Another Love Letter to Food Snobs July 29, 2007
Chris Roberts (Astoria, NY)
24 out of 53 found this review helpful
The idea of having two characters come together despite their obvious personality conflicts is as old as the silver screen itself. However, with the help of a strong, intelligent script the familiar can be overlooked and the situation can seem fresh. "Something New" is a prime, recent example of this story done right. "No Reservations", on the other hand, misses the mark as it is familiar to a fault. The script exists sans edge or excitement, and we know exactly where it is going every step of the way. Catherine Zeta Jones plays Kate, the type of woman I work very hard to avoid in my daily life, she is driven, righteous, and anal retentive. To her, that mean, nasty disposition is just a byproduct of being one of the most respected chefs in all of Manhattan. She has no time for love or fun or life because, by golly, she needs to perfect her safran sauce and quail (gag me). But since she is stuck in a Hollywood movie her life must throw her a curveball, in this case it comes in the form of a car crash which kills her sister and saddles her with her 9 year old niece Zoe.
So will Zoe soften Kate's outlook on life, showing her that there is more to it than careerism for the sake of careerism? Will Kate find some ideal studmuffin who will teach her the virtue of love? Let's just say that this film never met a risk worth taking. Said ideal studmuffin is played by Aaron Eckhart who steals the movie and provides enough charm to almost make the whole experience worthwhile. Catherine Zeta Jones, not nearly as young or pretty as her publicist has led her to believe, sleepwalks through the movie giving me further proof that "Chicago" will forever stand as her one good performance. I liked the scenes with Kate and Zoe because while they were lightweight they were also spiked with realism. Kate is so clueless that she serves Zoe fish for dinner, complete with eyeballs. I'm sure she saw this as perfectly acceptable because if it is good enough for her fans on Bleeker Street then it must be good enough for anybody. But for most of the film we are left to stare at dead air as pretty yet pretty uninteresting characters pat themselves on the back over what good cooks they are.
After "Waitress" and "Ratatouille" earlier this summer this is the third film that caters to food snobs. Which is fine, they are trendy nowadays and all, but we can hardly call these movies realistic portraits of the restaurant business. Hairnets don't mesh well with movie stars so they just go without. I've also never worked in a restaurant where the whole staff gets together and eats a meal together before work as though they are some sort of family. Maybe it exists but it is not the norm. At least "Waiting...", crude as it was, kept it real. Meanwhile my hobby, film snobbery, is nothing more than a joke to film producers. In the past five years the only two movies to touch it have been "Cinemania" (great, great movie) and "Film Geek", both which showed my people in the most unflattering light imaginable. But that aside, this film is far too predictable for its own good. Providing fairy tales to the people is what movies do best, but here they couldn't even be bothered to mildly tweak an old one. **3/4
A Recipe for Life July 23, 2007
Chris Pandolfi (Los Angeles, CA)
17 out of 25 found this review helpful
There's a light, good-hearted nature to "No Reservations" that's quite pleasing, if a little predictable. This is just as much a story of life as it is a story of romance, and we all know the formulas such films follow: a person's world is rearranged when someone new enters his or her life, and the laughter, tears, and conflict will be plentiful. I expected nothing less from "No Reservations," which is probably why I was able to enjoy it. This is a charming, funny, touching film that casts away any qualms about being formulaic, which is a good thing for anyone in need of romantic escapism. I don't dare question how realistic the events of the film are; this is not a film that bothers with realism, but rather with the idealism that life is supposed to work in a specific way. At times, it's a welcome diversion.
The plot concerns Kate (Catherine Zeta-Jones), the executive chef of an upscale New York restaurant. We immediately get the sense that hers is a very organized, controlled world; while not explicitly critical or demeaning, she is fiercely protective of what she's worked so hard for, namely her position at the restaurant. Here's a person that's strong on the outside but deeply insecure on the inside, exemplified by her inability to receive criticism (never complain about the food she prepares; you'll definitely regret it). For these reasons, she's ordered into therapy. She pretty much dominates her own sessions with incessant discussions on food preparation--appetizing, yes, but not exactly enlightening. Her therapist (Bob Balaban) is initially unable to ask any questions or give any advice. Clearly, she's afraid to let anyone examine her personal life.
Her world is turned upside down when her sister dies in a car accident, leaving behind a daughter, Zoe (Abigail Breslin). Because there's no father in the picture, Kate is now faced with the responsibility of caring for her. But will she know what to do? A child has never been a part of her life; being a chef is the only life she's ever known. She knows virtually nothing about Zoe, not even her favorite color. Furthermore, Zoe has lost her mother, meaning she'll need the extra emotional support Kate may not be able to give. It will be an adjustment, and a tough one at that; not only is Zoe unwilling to eat, she's also unwilling to let Kate get close.
In this regard, she takes right after her aunt, whose defensiveness runs on high after a new chef is hired. Nick (Aaron Eckhart) is a man with a bright, free-spirited approach to cooking: he listens to opera; he actively engages the other chefs; he's charming and witty. Kate finds him threatening, and initially treats him as such by being cold, critical, and distant. But when she decides to bring Zoe to work with her one night, she notices how well Zoe and Nick get along. He even gets her to eat. Thus begins a strained friendship that the audience knows will progress into something more. Of course, that's exactly what the audience hopes will happen. Quite simply, Nick is fun to be around and Kate is not; their coming together allows her to lighten up and let someone in emotionally.
As the film progresses, the relationship between Kate, Zoe, and Nick develops, not necessarily as it would for a family, but rather as it would for a group of friends. I never once thought that Zoe would ever see Nick and Kate as parental figures, which is just as mature on Zoe's part as it is sad. Likewise, I never once thought that Kate saw herself as a mother, despite her growing love for Zoe. The dynamic between these three characters is complex, especially when a number of other conflicts are introduced. For one thing, Zoe fragile state causes problems at school. It also threatens to ruin everything Kate has tried to accomplish. Both are trying, but it's clear that a lot of emotional baggage remains.
Herein lies the film's major weakness: most of Kate's emotional baggage is undefined. We do get a couple of brief mentions, such as her mother's passion for cooking and her father's absence from her life. But none of this is properly developed, and that made her controlling behavior seem less understandable and more uncalled for. Still, I was taken by the dramatic tension between her and Nick; watching an uptight person letting their guard down is both entertaining and uplifting. And I was definitely moved by her attempts with Zoe, who's just begging to be hugged and soothed and reassured that everything would be all right. There's a moment when she watches home video of her mother; Kate sneaks in, sits down, and holds Zoe tightly. You can practically see the emotion dripping off the screen, which is probably why it's effective.
Equally as effective is the growing love between Kate and Nick--a love that can go in any direction but ultimately treads the expected path. I've seen enough cinematic romances to understand that this is appropriate, maybe even necessary. "No Reservations" is the kind of film we occasionally want to see, if not for plausibility, then for the satisfaction of temporarily disappearing into a fantasy. It plays on our personal desires, namely those of happiness and well being in the midst of a crazy world. At one point, Kate says, "I wish there was a cookbook for life"; I found this clever, despite the overuse of the basic message. If it's possible for me to appreciate this kind of dialogue--or even a film with this kind of dialogue--then I think it's safe to assume that it's possible for you, too.
Forgettable July 28, 2007
L. Quido (Tampa, FL United States)
16 out of 25 found this review helpful
The trailer portrays a sophisticated romantic comedy and focuses on the romance and the high anxiety of chef Kate (Catherine Zeta Jones), the kitchen terror of the restaurant "22 Bleeker St". Moviegoers expect to see the beautiful Zeta Jones act like Gordon Ramsay of TV's "Hell's Kitchen", only to be tamed by fellow chef Nick Palmer (Aaron Eckhart).
In reality, the film, which I screened last weekend, is more of a sad family film of loss and redemption, with some light comedic touches. And while I did enjoy it at the theater, overall, it is a forgettable movie.
A remake of the German "Mostly Martha", the film has executive chef Kate anticipating a visit from her sister and niece, when the sister is killed in a traffic accident. Niece Zoe (Abigail Breslin, the moppet from "Little Miss Sunshine") survives the crash and is brought to live in Kate's somewhat ascetic existence. She is overwhelmingly sad and disconnected from her new life.
While trying to juggle sudden motherhood with career, Kate is forced to put up with a newly hired sous chef, Nick. Nick brightens the kitchen with his costumes, his love of all things Italian, his opera, his willingness to put up with sulky Kate. It is Nick who bonds quickly with Zoe, and acts as a catalyst between the two ladies. What saves "No Reservations" is the insouciance of Eckhart's character, and his chemistry with Breslin. But for a sizeable portion of the film, the prevailing feeling is sadness, for the plight of young Zoe and the cold containment of Kate in dealing with the situation. Zeta Jones plays her character frosty, cool, and with little ability to empathize with the plight of Zoe. Even her apologies, when she forgets to pick Zoe up at school, etc., seem forced.
And it is this character vacuum that causes the movie to be something less than it might have been. With some spark and volatility, combined with the slickness of Kate's kitchen, the endearing qualities of both Zoe and Nick, the film could have been a winner. Let's say, with Kyra Sedgewick, in the Kate role, the film would have been
far more engaging. Zeta Jones continues her reign as one of the screen's most beautiful leading ladies, and we know she has depth (proving it as Velma in "Chicago" and with her cameo in "Traffic"), but this genre of films doesn't bring it out, and she is ultimately responsible for the movie being one where I would recommend:
"Wait for the DVD"
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