It's a bliss to behold that Faith Akin could return to a IN JULY (2000) route to prepare us for a comedic ratatouille after his tremendously nerve-pressing films HEAD-ON (2004) and THE EDGE OF HEAVEN (2007), prominently known as the fresh blood of the new German film industry, Faith is definitely honing his prowess with multi-genre attempts, though we are still not clear his next feature project (only a documentary called GARBAGE IN THE GARDEN OF EDEN is billed under his director helm from IMDb, another genre breakthrough is expected).
SOUL KITCHEN connects intimately with a lavish hue of aesthetics with a down-to-earth register aiming towards modern-day generation, for the likes of a desolate factory-reconstructed- restaurant serving as a default location and night disco dizziness as such. The tempo of the story-unfolding is rapid with fairly abundant of gags and the characterization of different roles is smoothly undergoing without too much mind-absence or self-conscious uneasiness. The story has never been out of its predictable safe zone, but is helped out by an intriguing visual plentifulness.
Alongside Faith, the film is co-scripted by Adam Boysdoukos, who is also the leading actor here. While the acting at large is lukewarm, funny but no amazing bravura, the sole recommendable saving grace is Faith's old mate Birol Ünel, acting as a short-tempered cook, whose screen time is meager but to my appetite.
From an aspect about re-maneuvering his comedic faculty, the most delightful discovery is Faith's multi-faceted flair in exerting a film's audience-friendly mode which assures both its viewers and its financial investors that any work labelled his name tag will not be a reckless train gone amok, if Faith could trawl a potent script and cast (or write one like HEAD-ON, THE EDGE OF HEAVEN), his harvest season by all odds will not be a long shot.
SOUL KITCHEN connects intimately with a lavish hue of aesthetics with a down-to-earth register aiming towards modern-day generation, for the likes of a desolate factory-reconstructed- restaurant serving as a default location and night disco dizziness as such. The tempo of the story-unfolding is rapid with fairly abundant of gags and the characterization of different roles is smoothly undergoing without too much mind-absence or self-conscious uneasiness. The story has never been out of its predictable safe zone, but is helped out by an intriguing visual plentifulness.
Alongside Faith, the film is co-scripted by Adam Boysdoukos, who is also the leading actor here. While the acting at large is lukewarm, funny but no amazing bravura, the sole recommendable saving grace is Faith's old mate Birol Ünel, acting as a short-tempered cook, whose screen time is meager but to my appetite.
From an aspect about re-maneuvering his comedic faculty, the most delightful discovery is Faith's multi-faceted flair in exerting a film's audience-friendly mode which assures both its viewers and its financial investors that any work labelled his name tag will not be a reckless train gone amok, if Faith could trawl a potent script and cast (or write one like HEAD-ON, THE EDGE OF HEAVEN), his harvest season by all odds will not be a long shot.