Genre: Comedy, Romance
Music: Michael Andrews
Cinematography: Robert D. Yeoman
As raunchy as any female flick could bear, BRIDESMAIDS is not just a female version of THE HANGOVER spin-off. It hinges firmly on a 3S lady’s (single, seventies and stuck) personal mire, and elaborates a watchable diagram of friendship and, eventually a tad of love.
The film manages a tug-of-war competition between our protagonist Annie Walker as her childhood BFF Lillian’s maid of honor and an almost immaculate bridesmaid Helen (a new friend of Lillian) to the coronet of the best friend of the bride, the battle is inequitably brutal since Helen’s filthy rich and such a phony, thus soon it plummets into a steep plight for Annie. However a fairly anticipated buck-up is congenially under the way, so no more melodrama and a woman’s victory is all well-deserved.
The film is a tailor-made vehicle for Kristine Wiig (who co-writes the script) and her comedic bent has grabbed the best platform to bloom and it is an awesome job! The hysterical turmoil of her life is surprisingly conceived with humor and self-mockery. Among the sidekicks Melissa McCathy is another feat on screen, her embodiment of life with her own weight is the best part in the film and expunges extensively the side effect of a hackneyed plot contrivance. Also Wiig’s SATURDAY NIGHT LIVE co-star Maya Rudolph and an inscrutably dulcet Rose Byrne are adeptly cast. The great news is that the film has become the highest grossing R-rated female comedy of all time in USA, while a sad thing is that it is Jill Clayburgh’s final film.
It is also another triumph for the producer Judd Apatow (after the tepid welcome of FUNNY PEOPLE 2009), he is still able to pioneer the red-hot craze for the modern-day comedy and be innovative, I hope BRIDESMAIDS 2 will not be a disheartening cool-down as THE HANGOVER PART II (2011) did.