The Dinner – first look review | Little White Lies

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The Din­ner – first look review

11 Feb 2017

Words by Adam Lee Davies

Two adults seated at a table in a restaurant, a man in a suit and a woman in a red dress, with wine glasses and a dessert on the table.
Two adults seated at a table in a restaurant, a man in a suit and a woman in a red dress, with wine glasses and a dessert on the table.
Cin­e­ma dic­tates that movie din­ner dates are sup­posed to go bad. This Berli­nale com­pe­ti­tion entry car­ries on that tradition.

It’s stilt­ed chit-chat over aper­i­tifs, hot words over the choco­late pud and ACT­ING from soup to nuts as Oren Moverman’s frou-frou din­ner date movie, The Din­ner, shifts through some well worn gears on its way to a most­ly unsat­is­fy­ing con­clu­sion. Richard Gere’s slick-dick US Gov­er­nor and his semi-estranged cranky/​crank broth­er Steve Coogan meet – wives in tow – for an out-of-the-blue nosh up in an Eyes Wide Shut restau­rant where barbs are trad­ed, laun­dry is aired and each of the four take their turn to chew the rich, mahogany scenery.

No two upper-mid­dle class cou­ples in movie his­to­ry have ever sat down to a fine meal with­out sparks fly­ing, and so it goes. Pro­fes­sion­al deal­mak­er Gere tries to mod­er­ate the embit­tered, mis­an­throp­ic Coogan who, in turn, spears his brother’s oily pol­i­tics. The ladies are demure and pla­ca­to­ry until required – by a pli­ant and often frus­trat­ing­ly con­vo­lut­ed plot – not to be. What begins as a mor­eish slice of jaun­ty culi­nary cin­e­ma takes some odd, herky-jerky turns into unsign­post­ed avenues of men­tal ill­ness, abuse of priv­i­lege and racism. Think a Bon­fire of the Van­i­ties where everyone’s scoff­ing blanched octo­pus nos­trils, and you’re more than halfway there.

What saves the film is the per­for­mances. They may all have their own fenced-off lit­tle speech­es where they are giv­en the green flag to thesp it up, but all four leads are impec­ca­ble through­out. Yes, there is a slight dis­con­nect – espe­cial­ly for British audi­ences – in see­ing Steve Coogan take a role that would once have fall­en to Philip Sey­mour Hoff­man or Mont­gomery Clift. Yet he puts in a man’s shift, and even if no more offers of heavy dra­mat­ic lift­ing come from this, he can hold his head high. Gere (who nat­u­ral­ly toplines, even though it real­ly is Coogan’s movie) is a com­plete joy, and The Din­ner is a reminder that he should be on our screens more. That hair!

This Berli­nale con­tender is far from a bad film – the per­form­ers see to that. And any­one who has seen Moverman’s 2011 Woody Har­rel­son-led cop dra­ma Ram­part will notice that this is a direc­tor who has no prob­lem build­ing a sus­tain­able world. The trou­ble with The Din­ner is that the sto­ry Mover­man has cho­sen (from a nov­el by Her­man Koch) is not any­where near as coher­ent, pre­scient or per­sua­sive as it thinks it is.

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