‘The Kitchen’ Review — Daniel Kaluuya Directs a Dystopian Robin Hood Tale

The Big Picture

• Great performances by Kane Robinson and Jedaiah Bannerman stand out in The Kitchen.
• The film has impressive production design, direction, and visuals.
• However, the dystopian setting feels lacking and the supporting characters and story are underdeveloped.

This review is based on a screening at the Palm Springs Film Festival.

Being an Academy Award-winning actor with an astonishing resume of films consisting of Get Out, Black Panther, Judas and the Black Messiah, and more, the prospect of Daniel Kaluuya directing a feature film is undeniably intriguing. The anticipation for a directorial debut like that grows even more so when you pair Kaluuya with a promising co-director in Kibwe Tavares, whose prior short film work includes visually stunning short films like Robots of Brixton, Jonah, and Robot & Scarecrow. With those two filmmakers at the helm, a dystopian near-future drama like The Kitchen has an incredibly impressive foundation. Unfortunately, that’s all The Kitchen ends up feeling like: a foundation. One that seems to be inviting all manner of creative potential but never builds on that potential nearly as much as it should.

Set in a time not too far off in the future within London, The Kitchen primarily focuses on Izi (Kane Robinson), a notorious loner who has spent his entire life living in the besieged titular community that is “The Kitchen.” Izi has been grinding and saving to find a way out of the place he grew up, as it’s currently being targeted by the local police force, which is trying to force its tenants out by force. However, Izi’s plans for a hasty retreat change when he meets a newly orphaned young boy named Benji (Jedaiah Bannerman). While his lone wolf roots tell him to leave the boy to his own devices, the two develop a connection that may very well reveal a side of Izi that he could never have expected.

Even in the most well-known dystopian stories, such as Fahrenheit 451, Brave New World, 1984, and more, the themes of corporate greed and government oversight (among others) are often the focus while the storytelling is secondary. The Kitchen flips the script on this concept by having its pseudo-father/son dynamic at the definite forefront, while the dystopian thematic elements are a supporting element. That ends up being The Kitchen‘s biggest strength and its most significant weakness.

‘The Kitchen’s Solid Main Storyline Is Hindered by Underdeveloped Sideplots

The Kitchen primarily shines in its simple yet effective father-son dynamic. Not only do Kaluuya and Tavares do an excellent job showcasing the complexities of Izi and Benji’s relationship primarily through visual storytelling rather than monotonous exposition, but stars Kane Robinson and Jebediah Bannerman also both deliver stellar breakout performances. Though certainly best known for his music career as the rapper and songwriter Kano, Kane Robinson is a revelation in The Kitchen, effectively bringing a refreshing level of humanity and vulnerability to a character who easily could have come across as standoffish and unlikable if done wrong. Robinson has a fantastic scene partner in newcomer Jedaiah Bannerman as Benji, whose effortless charisma makes his first credited role a very strong one.

Izi and Benji’s companionship is arguably the most important plot point for The Kitchen to get right, and thankfully, the film succeeds in that respect. The same cannot be said for the several subplots in the film, most if not all of which feel woefully underdeveloped. One of the most distinct visuals of The Kitchen seen in nearly all of the film’s marketing material is this band of rebellious bikers, led by the Robin Hood-esque Staples (Hope Ipoku Jnr). This crew of anti-heroes seems like they would be the perfec entry point into The Kitchen‘s dystopian satire. Instead, we only see the bikers embark on two or three heists, where we don’t learn much of anything about Staples or the other members of his team. Benji’s initial meeting with the bikers also feels like it could have warranted further exploration, but instead, all he gets out of it is an even more rushed romantic subplot, the entirety of which takes up less than five minutes of screen time.

Other underdeveloped plotlines that could have further established The Kitchen‘s world pertain to other members of the titular community, namely the character of Lord Kitchener (played by football legend Ian Wright). Being the radio host of The Kitchen, Lord Kitchener is the source of much of the film’s diegetic exposition, fulfilling a similar role to Mister Señor Love Daddy (Samuel L. Jackson) from Do the Right Thing. The movie seems to want its audience to think that Kitchener is the heart of this community, but it’s difficult to feel this connection, as we never get to see him interact with The Kitchen‘s characters outside his radio show, nor do we see the other residents really ever discuss his impact.

The Dystopian Setting of ‘The Kitchen’ Feels Largely Superfluous

Maybe it’s because the film takes place not too far off in the future, but the dystopian setting of The Kitchen does surprisingly little to add to the film’s core conflict. There are all-too-brief moments where the film’s futuristic vision of England begins to shine, such as the eerily macabre and creepily corporate method of funerals in this world. There are also select sequences where, through some solid special effects, we see more of this corporate digital world, but these moments are more utilized as levity rather than worldbuilding.

In all honesty, the father-son story of The Kitchen doesn’t seem to make use of its sci-fi setting in a way that progresses that story. With a few minor tweaks, Izi and Benji’s story would remain largely unchanged if it had taken place in the modern day. The argument could even be made that their story would work better in the modern day, as that would make their stakes even more grounded and relatable. As it is in the final product, despite solid directing, effects, and production design at various points, The Kitchen doesn’t explore its futuristic dystopia nearly as profoundly as it could. That being said, The Kitchen does end on a great note, with a simple and ambiguous ending leaving audiences to draw their own conclusions about what happens next.

For its stars and filmmakers, The Kitchen represents a decent start to some promising careers. Directing prowess and engaging performances from its leads aside, though, the film’s dystopian setting struggles to stand out amongst others in the genre. It’s an auspicious stepping stone for Daniel Kaluuya, Kibwe Tavares, Kane Robinson, and Jedaiah Bannerman, but overall, The Kitchen is serving meals that are just a bit too familiar.

The Kitchen is now available to stream on Netflix in the U.S.

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