Too many ‘Reservations’

“No Reservations” is like one of those fancy but retro-inspired desserts so popular in restaurants these days.

You can deconstruct it, pile the elements sky-high or even turn an ingredient into a foam in an admirable attempt at achieving transcendence. At heart, though, it’s still the same sticky-sweet confection your mom might have made.

Similarly, the new film set in New York City’s restaurant scene tries desperately hard not to be the typical romantic comedy. Its stars have acting chops, not just big names and pretty faces. Director Scott Hicks (“Shine”) aims to give a less than superficial look at a fascinating but mysterious milieu. The score, by Oscar-winning minimalist composer Philip Glass, gives the distinct impression that this film is something of a serious work of art.

It’s only an impression, however. All the elements were there to lift “No Reservations” out of its formula-laden genre — except the formula-laden script.

A remake of the 2001 German film “Mostly Martha,” “No Reservations” centers on star chef Kate Armstrong (Catherine Zeta-Jones). She’s at the top of her profession, at least as close to the top as you can get without having your own show on the Food Network. What got her there was complete devotion to her craft at the expense of her personal life.

She’s the kind of woman who, when her therapist (a pitch-perfect — as usual — Bob Balaban) asks, “How long ago was your last relationship?” responds immediately, “Isn’t that a little personal?”

She’s only in therapy because her boss, restaurant owner Paula (Patricia Clarkson), sent her there after she told off one too many philistine customers. Kate, like many professional women on celluloid, is a little high-strung.

It’s not just therapy that will make Kate re-evaluate her life. Her beloved sister dies in a car accident, leaving her grieving young daughter, Zoe (Abigail Breslin, whose character is not nearly as much fun to watch as Olive in “Little Miss Sunshine”) in Kate’s care. While Kate takes a brief break, Paula hires a sous chef to cover for one who has taken maternity leave. Kate has two new people in her life, both of whom challenge the comfortable cocoon she has made for herself.

Nick Palmer (Aaron Eckhart) at first horrifies Kate. The relaxed, fun-loving chef cooks Italian food, wears orange Crocs like the Food Network’s Mario Batali and sings along to opera in the kitchen. (He prefers Pavarotti but comments, “Bocelli’s good, too, but just for shallow one-night stands.” The script does have some pretty good dialogue.)

Rivalry soon turns to romance, of course, with Zoe providing much of the glue to hold these two opposites together. Kate serves Zoe fancy fare — such as a whole fish, eyeballs attached — while Nick wins the girl’s heart with a big plate of spaghetti. But can Kate juggle both the personal and the professional when Zoe starts falling asleep at school after spending late nights bonding with her and Nick in the restaurant and Nick starts gaining more and more fans there?

Kate, Nick and Zoe are all archetypes of a sort, but screenwriter Carol Fuchs deserves credit in that none of the archetypes is overdone. Kate is not over-the-top uptight, and Nick is not over-the-top effervescent.

What is over the top is a scene involving a three-person bicycle. That moment sums up the ultimate failure of the film: Just when you think you’re watching something that rises above average — as the performances, score and sometimes witty dialogue do — you’re thrown the ultimate rom-com cliche.

“No Reservations” is as safe and predictable as a night out at a suburban restaurant chain, but it could have been the kind of daring dish Kate serves up at her Village eatery.

**

TITLE: “No Reservations”

RATING: PG (Some sensuality and language)

CREDITS: Directed by Scott Hicks. Screenplay by Carol Fuchs based on the German film “Mostly Martha.”

RUNNING TIME: 104 minutes

MAXIMUM RATING: FOUR STARS.