The Kitchen,” starring Melissa McCarthy, Elisabeth Moss, Tiffany Haddish and Domhnall Gleeson, is an ode to the ever-popular gangster movie, but also a reimagining. Three women who can’t pay the bills after their mobster husbands go to prison decide to take over the organization themselves — becoming violent criminals in the process. Gone is the Don, in his place are the Donnas. “I love mobster movies, they’re some of my favorite movies, but I think I always watched them and thought, ‘Where am I in that story? Where am I represented?’ I never am. The opportunity to put those two things together — a real authentic, gritty mob story that has interesting, flawed, human women at the center of it felt like an incredible opportunity,” writer/director Andrea Berloff tells Arab News. In casting, Berloff went against type — McCarthy and Haddish are best-known for comedic roles, and Gleeson’s roles in “Star Wars” and the Oscar-nominated “Brooklyn” suggested anything but a gangster. “If I’d read the script I wouldn’t have thought of me for the role, so I was thrilled that Andrea for some reason thought that I could do a good job. The good ones are a surprise to you as opposed to something you track down — or that’s the way it’s been for me so far. I never thought I’d really want to play a killer in a mob movie. When this script came along, that’s what I found a bit scary and interesting,” says Gleeson. Like Berloff, Moss has always loved the genre — especially the women in legendary projects such as “The Godfather” and “The Sopranos.” While the women of “The Kitchen” are different in many ways from those groundbreaking characters, they carry on their spirit. “It’s something that we’ve seen in various mobster projects. With Diane Keaton and Edie Falco, and these incredible portrayals, I always find them the most interesting parts of those projects — to see the effect that that lifestyle has on women is really interesting,” Moss tells Arab News. McCarthy wasn’t as focused on the history of women in crime fiction as her co-star. Instead, the character and the script were rich enough that she was able to link it to her own life quite easily. “I didn’t reference other movies,” she says. “For me, when a script it that good, and that complete, and that fully realized, I try to delve into the character itself. I thought about how I related as a mother of two, and what does that mean when you’re just trying to survive and try to take care of your kids. I don’t look to other movies as a guide — I’m a big movie fan, but I prepare a little more solo.” “I’m the same way,” says Haddish. “It just seemed easy. It’s that great thing. Especially with Andrea running the ship, we all saw the same movie, which was really great, and we all naturally get along,” says McCarthy. This is Berloff’s debut as a director (she was nominated for an Oscar for writing the 2016 hit “Straight Outta Compton”) and she hadn’t originally planned on helming the movie herself. But she found she felt so passionate about the story that she wanted to oversee the whole project. “There are times when I write a script and I’m happy to hand it off to someone else and let them run with it, but in this case I felt like I had so much more to say about these characters, and this world, and these themes,” she explains. “I went in to pitch as a director and started saying to them, ‘Here’s what’s not in the script that you don’t know.’”