Watch the dinner 2017 online free. Two brothers and their wives meet up at a haute-cuisine restaurant to discuss what to do about a horrific crime that their sons committed together. As the quartet debate their options, the conversation reopens old wounds between the siblings.
Claire (Laura Linney) and his husband Paul Lohman (Steve Coogan) are going to dinner at a remarkably fancy restaurant with Paul’s relatively-estranged brother Stan (Richard Gere), a high-powered politician, and his wife Katelyn (Rebecca Hall). They’re getting together to discuss a horrific incident involving their children, which we see in flashes back in time. Their affluenza-stricken progeny did something horrible to a homeless woman sheltering in an ATM room, and it was caught on a security tape. Not only could their kids go to jail, but Stan’s political career could be derailed. As more and more lavish courses come their way (shepherded by an effective Michael Chernus as a nervous maître d’), the couples bicker, fight, and reveal the depths of their personal problems. It has echoes of Polanski’s “Carnage” in the way Overman attempts to analyze how our children’s behavior can often become a mirror of our own issues, but it’s all mysterious back story revelations instead of anything insightful about who these people are today or where they’re going.
It is purposefully designed to push against traditional cinematic rhythms. However, formal experimentation can easily give way to incoherent nonsense, and Moverman falls into the second category far too often here. There’s a centerpiece at Gettysburg, another flashback to when Paul and Stan visited there, that feels interminable. It’s the kind of bizarre sequence that forces you to question what you’re watching and why—which could be Moverman’s intent, or he could just have been too opaque when it came to his writing. Is Paul going crazy? Has he always been crazy? There’s a motif of living in the past—Paul is a history teacher—but it’s woefully underdeveloped. Paul says things like “History is either a lie or a bore,” which sounds much deeper than it actually is. History can’t compete with the now. Yeah, what else ya got? And if that’s the case, why is the “now” in this film so secondary?