REVIEW: The Dinner

3 05 2017

I’ve racked my brain for days. Still, I cannot find a scenario in which the same person who masterfully threaded the seven-character Bob Dylan opus “I’m Not There” could also write something as clunky as “The Dinner.” Pardon this casual dismissal, but just … woooof.

Oren Moverman’s film is a cheap knockoff of “Carnage” – both Yasmina Reza’s play and Roman Polanski’s cinematic adaptation – as it gathers wealthy individuals to gnaw at each other over the sins of their children. That film wasn’t even anything to write home about, but it at least found a claustrophobic consistency and stuck to it. Moverman hacks away at any building tension between the two couples by frequently cutting away with flashbacks and expository scenes.

Even when Moverman does center the action on the open loathing between a successful politician (Richard Gere) and his cynical brother (Steve Coogan), “The Dinner” falls flat. They don’t sound like people. They talk like characters. Every bloviating pontification reeks of unrealistic grandiloquence. I don’t buy that this manner of speaking is some kind of class marker, either. Moverman just cannot find the humanity in the people he puts on screen.

When evaluating films, director David Fincher says he operates on the following logic: “First I’m looking for the technical. Then the believable. Then the connection.” Moverman’s film never makes it past the first criterion. C-