User reviews

Richard Curtis's films have sometimes been criticised for giving a too cosy, conservative view of British society. "Four Weddings and a Funeral" seems to take place in an England of eternal summer, a land which consists almost entirely of green and pleasant countryside and the more exclusive districts of London and which is populated solely by members of the upper and upper-middle classes. The script does cross the border into an equally idealised Scotland of mists, tartans and Highland flings, but even these scenes were actually shot in Surrey. Such criticism contains an element of truth, but is largely irrelevant when it comes to assessing the merits of the film because it ignores the fact that most romantic comedies (in other media as well as in the cinema) are set against a relatively narrow background in terms of social class, often enabling the writer to satirise the manners of that class. Jane Austin, for example, the most successful writer of romantic comedy in nineteenth-century England, set all her works among the wealthy landed gentry or prosperous bourgeoisie of the day.

Most of the action of the film takes place either at, or immediately before or after, one of the four church services mentioned in the title. The main character, Charles, is a well-to-do young man, probably educated at public school, and clearly a member of the professional classes, although we never actually discover what his job is. The film starts with a wedding at which Charles is best man to Angus, one of his old friends, and at which he meets Carrie, an attractive young American woman. The film then traces the ups and downs of the relationship of Charles and Carrie, via two more weddings (the second of which is Carrie's own, after she and Charles have split up), the funeral of Gareth, another friend of Charles who suffers a heart attack while dancing at Carrie's wedding, and one final marriage ceremony.

Hugh Grant, as Charles, gives a very good performance. Grant has a relatively narrow range as an actor, but he is capable of some excellent work within that range. There are some subtle differences between Charles and William, the character Grant played in "Notting Hill", another romantic comedy written by Curtis. William is a shy young man who uses ironic, self-deprecating humour as a cover for his shyness and lack of self-confidence. He is very much in love with Anna, that film's heroine, but is afraid to declare his love because he cannot believe that a beautiful and successful film star would take any interest in the owner of a small bookshop. Charles, by contrast, is less shy than William and enjoys more success with women. His humour is also ironic, but for a different reason. He is afraid of his emotions and of commitment and uses irony as a means of distancing himself from life and of avoiding having to commit himself.

The film can be seen as the story of Charles's journey to emotional maturity. He has had a number of brief affairs, all of which have petered out precisely because he is afraid of his emotions. His relationship with Carrie initially goes the same way and she marries a richer and older man. The change in Charles's character is partly due to the fact that he sees his carefree bachelor world disappearing as most of his friends get married, but the event which seems to have the greatest effect on him is Gareth's funeral, at which a moving eulogy is read by Matthew, Gareth's gay partner, touchingly played by John Hannah. Charles realises the strength of the love that Gareth and Matthew shared for one another and comes to appreciate that such a relationship is something to be valued.

Grant does well to make Charles a sympathetic figure, despite his having many failings quite apart from his ironic distancing of himself from the world. He is clumsy, accident-prone (he manages to lose the ring at Angus's wedding), much given to profane language and can be appallingly tactless, especially about his former girlfriends. The other main character, Carrie, can perhaps be seen as a female Charles, someone who is on the same journey as him but who has travelled slightly further. (It is significant that her name is short for Caroline, the feminine equivalent of the name Charles). She freely admits to having had over thirty previous lovers, but she is the first to want to bring emotional commitment to their relationship. Am I, incidentally, the only one to have liked Andie MacDowell's performance?- she has come in for a lot of criticism, in my view undeserved, on this board.

The film is, however, more than simply a study of relationships- it is also very funny with some superb lines. Hugh Grant can be very amusing, and there was a great cameo from Rowan Atkinson as a bumbling, nervous trainee priest who keeps fluffing his lines during one of the weddings. ("Awful wedded wife", or "Holy Goat" for "Holy Ghost"). I also liked David Bower as Charles's deaf brother David, the late Charlotte Coleman as his impudent younger sister Scarlett and Anna Chancellor as his ex-girlfriend Henrietta (also known as Duckface), whose embarrassing emotional incontinence perhaps explains why Charles is so keen to distance himself from his feelings. I was less impressed by Simon Callow as Gareth, loud, extrovert and excessively hearty (like most characters Callow plays).

To sum up, this was a very good film indeed; proof that the British cinema can produce romantic comedies as good as Hollywood at its best. 8/10

When I saw this film in '94, I was expecting something a little snappier & edgier like the rom-coms of the time (such as "Singles" or "When Harry Met Sally"). Instead, its low-key, subtle, British presentation caught me off guard and left me a little bit unfulfilled.

I now realize that's because I was an idiot at the time. Subtlety is this film's strength, and Hugh Grant's performance is impeccable in that regard. There aren't a lot of wisecracking zingers or situational craziness, but Hugh's portrayal of a cute, clueless, British playboy is something he does par excellence. Andie McDowell's portrayal of a disconnected, almost soulless enigma is equally compelling, although on first viewing I didn't understand the character.

The comedy comes through Hugh's strained reactions to the insane situations he finds himself in. Things happen that would reduce a normal human to hysterics, but Hugh is forced to ride it out with proper British decorum. For example, there's one scene where finds himself stuck at a table with EVERY ONE of his ex-girlfriends, trying to play it off as politely as possible while they take turns freaking out at him.

Something to note: Unlike films like "Harry Met Sally" and "Singles" which focus equally on the characters, this movie is essentially from Hugh's viewpoint, and Andie's character is almost peripheral. With that in mind, it's not a standard love story between two people. Instead it's about one man stumbling through the concept of romance.

If you like rom-coms that take a different approach, this is a good one for you to check out. I also recommend "Forget Paris" (about what happens to a couple AFTER 'happily ever after') and "Object of Beauty" (starring Andie McDowell & John Malkovich as a pair of dysfunctional, small-time con artists in love).

If you're a Hugh Grant fan, you'll love this film, period.

Richard Curtis, author of Rowan Atkinson's sublime Blackadder TV series, here contributes a romantic comedy screenplay which is actually romantic AND actually funny. American hacks should take note: it's possible to write comedy based on the battle of the sexes that doesn't rely on misogyny and gross-out humor.

Hugh Grant at his most charming leads a talented ensemble cast in this warm-hearted tale of unrequited and requited love that so impressed stodgy Academy voters it actually got a Best Picture nomination. I won't quibble with those who say it was undeserving -- although some of the other user comments are ridiculously hostile to such a lightweight romp -- but I will defend its makers for crafting a genuine crowd-pleaser that relies on story, character and witty dialogue for its appeal.

The essence of good romantic comedy is what Curtis and director Mike Newell capture particularly well in this film (more effectively than Curtis' other Grant hit, NOTTING HILL) and it's this: love makes us do stupid things. We err in choice, we blunder in execution, we make utter fools of ourselves, and yet we don't give up. We still strive. We still search for that perfect someone. And the glory is -- sometimes we get lucky.

Going along on this quest with Grant and friends is as enjoyable an entertainment as you're lucky to find in your local DVD section.

This film reminds me of a song I once wrote. It only had one word as the lyrics and that word was the same as the title, "Marijuana." The word was purposely pronounced incorrectly to sound like "Marriage you wanna?". The idea of the song was to take a swipe at marriage by comparing it to the quick high and long thereafter of a good toke. This film seems to take the same opinion on the subject.

We see the silly celebrations taking place in an attempt at formality. Usually something goes wrong or something embarrassing happens at the time. This leaves a kind of skepticism about the holiness and correctness of marriage. This idea comes out more firmly when the main character asks his love to not marry him under and circumstances. She ironically replies, "I do".

The film has some funny scenes in it, and it was quite watchable. I would recommend it for those that like to relive past experiences at weddings or other social occasions.

I am viewing the movie for my fifth time since its release. I just love this movie and laugh almost endless throughout the movie. My favorite parts of this movie are not the "Hollywood A List" actors but the not so well known actors. They are incredibly funny and give wonderful performances. I could easily write a bit about each actor in this movie but time does not permit. These are some very talented people. As a fan of British humor, I am especially pleased with the incredible writing along with the acting. Not to mention some of the scenery. If someone is feeling low, this is a great movie to watch to lift the spirits. I highly recommend this movie to anyone wanting or needing a good laugh.

This is one of the funniest, wittiest, cleverest comedy/romances to come out of Great Britain, moving at a quick pace through a series of scenes commemorating FOUR WEDDINGS AND A FUNERAL, with a cast of wonderful British players headed by HUGH GRANT and American actress ANDIE MacDOWELL.

The running joke seems to be that Grant never knows what time it is, even though he's scheduled to attend a wedding almost every Saturday of his life. Grant plays the character in his standard befuddled, confused, yet charming manner and handles the role like a real pro.

I'm not an admirer of ANDIE MacDOWELL but she's competent enough as his over-sexed sweetheart, the girl he falls in love with "at first sight", with marriage eluding both of them because of some bad timing. At last, just when it seems Grant will tie the know with someone else, he comes to his senses (thanks to a hilarious church scene that ends with his would-be bride punching him out of sheer vexation, knocking him flat on the church floor).

Delightful performances by the entire cast, with special kudos to JOHN HANNAH, SIMON CALLOW, KRISTIN SCOTT THOMAS and ROWAN ATKINSON in great supporting roles.

But it's Grant who keeps the thing buoyant and easy to take despite some of the implausibilities in detailing the relationship he has with MacDowell. Easy to see why the screenplay got an Oscar nomination.

The effects of personal want, need, love and desire on the friendships of a circle of eclectic individuals is examined with a spot of humor in the witty, clever and oh-so-British comedy of love, romance and finding that special someone, `Four Weddings and a Funeral,' directed by Mike Newell. Hugh Grant and Andie MacDowell head a delightful ensemble cast in this story of a group of long-time friends, all single, who watch and participate over a period of months as one by one those amongst them step up at last to the altar. Of them all, Charles (Grant) seems the most likely-- and at the same time the least likely-- to be next. Young, handsome and charismatic, Charles has no problem developing a relationship (he's had a number, in fact, as we learn in one particularly hilarious scene), but sustaining one is seemingly beyond his grasp. Until, at the wedding of one of his friends, he meets Carrie (MacDowell), an American, and she quickly enchants him. It is not the end of the story, however; for Charles, Carrie and the audience, it's only-- as they say-- the beginning.

Set in contemporary England, one of the aspects of this film that makes it so engaging is the propriety with which the humor is presented. Refreshingly subtle, there's more of Noel Coward than Tom Green or Rob Schneider to it; a matter of manners, mores and innuendo taking precedence over gross-out, in-your-face, shock schlock humor. And though Grant and MacDowell are at the forefront of the piece, Newell does an excellent job of developing all of the characters, succinctly supplying enough detail to each individual to give the film some depth and dimension, without having to actually go too deep. He never lets you forget that first and foremost, this is a comedy. There's some insight provided, but this is not an in-depth commentary on human nature, though there are some overtones and implications in that direction (Charles is always late to the weddings, for example; perhaps a subconscious denial of the impending nuptials?). Most importantly, the characterizations are rich, and the story is involving and presented with an even flow that allows you to effortlessly be swept away with it.

Certain actors make a career out of playing a variation of the same character in film after film, striving for that definitive portrayal. W.C. Fields played the hen-pecked husband in a number of films, finally perfecting that particular character in the person of Harold Bissonette in `It's A Gift.' For Hugh Grant, it's the retiring, somewhat self-conscious and stammering, eyelid fluttering charmer, of which he's done a variation in such films as `Sense and Sensibility,' `The Englishman Who Went Up A Hill, But Came Down A Mountain,' Notting Hill' and `Mickey Blue Eyes.' But Charles is his definitive portrayal of that character, the one in which he achieves the balance and honesty that makes the character so believable. It's a good bit of work by Grant, and definitely one of his most memorable performances.

Andie MacDowell, meanwhile, gives a rather composed performance as Carrie, the quiet American with a reserved bluntness who captivates Charles. MacDowell brings a sense of quietude to the role that is sensuously seductive, which lends credibility to Charles' infatuation with her. It's a role for which MacDowell is perfectly suited, as it allows her to play effectively to her naturally calm demeanor and exquisite beauty and femininity.

In a part that has to be an actor's dream, Simon Callow is absolutely exuberant as Gareth, one of the fixtures of Charles' circle of friends. More than just an effervescent character, Gareth is something of the conscience of the film, laughing away and laying bare any and all pretense or hypocrisy like a modern day flesh-and-blood Spirit of Christmas Present. It's a character that gives needed balance and perspective to the film, and he's wonderfully played by Callow.

Also turning in especially noteworthy performances are John Hannah as Matthew; Kristin Scott Thomas, who is quite alluring as Fiona; James Fleet as Tom, a character very reminiscent of his Hugo in the TV series `The Vicar of Dibley,' (and very effective here); Charlotte Coleman, memorable in the role of Scarlett; and Rowan Atkinson as the hapless Father Gerald.

Rounding out the supporting cast are David Bower (David), Timothy Walker (Angus), Sara Crowe (Laura), Anna Chancellor (Henrietta), Simon Kunz (John), David Haig (Bernard), Sophie Thompson (Lydia Jane) and Corin Redgrave (Hamish). There's enough twists and turns along the way to keep this film unpredictable, including one scene near the end that initially seems so mean-spirited that it may have you biting your fist and crying, `Oh, NO!' But, not to worry, Newell provides an instant resolution consistent with the rest of the film, and it not only works but gets a good laugh to boot. Entertaining, pleasant and funny, `Four Weddings and a Funeral' makes for a satisfying, feel-good cinematic experience that just seems so wonderfully civilized amid the seemingly endless rancor abounding in our world today. It's what's known as the magic of the movies. I rate this one 9/10.

The lead character in this film, Charles, says at one point that, while his friends were busily obsessed with marriage, two members of their group were, for all intents and purposes, married to each other. In those days before Britain had a civil partnership law, he was referring to Gareth and Matthew, played by Simon Callow and John Hannah. "Four Weddings and a Funeral" was among the first major films to feature a gay couple without any comment, moralizing, or stereotyping. Considering all of the absurd controversy generated by "Brokeback Mountain," this English comedy may be considered subversive in some quarters, because it portrays the union between the two men to be as loving and enduring as any between the men and a women in the same film. The two gay men are among a circle of idiosyncratic friends that orbit around Charles, who suffers from relationship avoidance. Played engagingly by Hugh Grant, Charles attends the weddings of others, but manages to avoid any commitment of his own. One of the film's funniest scenes involves Charles at a wedding reception where he has been seated at a table with several of his ex-girlfriends. With that one scene, screenwriter Richard Curtis wittily fleshes out Charles's character as each woman remarks on her past experience. The episodic comedy is broken down literally into the five events of the title, and the core characters attend these events as spectators who each hope for a wedding of their own. Many of the lines and situations are extremely funny. Rowan Atkinson steals his brief time as a novice preacher who blesses a couple "in the name of the Father, the Son, and the holy goat." Although Hugh Grant plays Charles as, well, Hugh Grant, several other actors create some fine comic turns. The ravishing Kristin Scott Thomas is touching as the lonely Fiona, and her timing is impeccable when she recovers from an indelicate question with a snappy comeback. Of course, why anyone as beautiful as Kristin Scott Thomas should be unwillingly single is a minor casting flaw in the film. Unfortunately, Andie MacDowell plays the American, Carrie, and, although she looks great in a hat, she fails to generate the necessary charisma to convincingly be Charles's object of desire. However, the low wattage generated by the two leads does little to dampen the hilarity or the pathos of this excellent film. While, at nearly two hours, the movie is long for a comedy, the structure and quirky characters easily sustain interest throughout. With "Four Weddings and a Funeral," director Mike Newell has made one of the best romantic comedies, and the film holds up to repeated viewings.

This delightful British romantic comedy kicked off Hugh Grant's career and rightfully so. There's something about him that is highly enjoyable to watch; we laugh at his witty remarks, we cringe when he is clumsy and makes stupid mistakes, we are happy for him when he finds true love. Sure, it's formulaic as evidenced in his later films; Notting Hill, About A Boy, Love Actually, just to name a few. But he is the master of playing romcom leads, and it's a wickedly pleasant indulgence to watch him in action. In Four Weddings and a Funeral, he charms both the audience and an American lady he meets at a wedding (the first of four), and we follow his exploits in attempting to win her over, amidst a hilarious bunch of friends and another suitor.

This is a comedy that is actually funny, with plenty of smart dialogue to laugh at. Granted, it is all Richard Curtis' doing (the master of comedic writing: check Blackadder, Mr. Bean, The Vicar of Dibley), but the cast does deliver it spot on. Special mentions goes to Simon Callow and David Haig for playing two of Hugh Grant's friends, Charlotte Coleman for playing his flatmate and Rowan Atkinson, as always, steals the show with a brief but hilarious scene as a priest-in-learning. Andie MacDowell is sweet and will steal anyone's heart with her portrayal of Hugh Grant's love interest. A solid, well-picked cast.

Despite an overall light-hearted tone, there is one particularly emotional scene that is both tragic and moving, and features the beautiful poem, Funeral Blues, by W.H. Auden. It is in this scene where Four Weddings and a Funeral proves itself as not just your typical romcom, but is deeply layered and even meaningful. The mood switches from happy and carefree, to solemn and heartbreaking, to happy once again. It's the perfect feel-good formula that will get you smiling and this is one romantic comedy that manages to pull it off extremely well.

This movie is so frustratingly forgettable. It is a romance which makes absolutely no sense to the viewer.

The object of affection is a promiscuous, threesome-having, cheating, superficial, self-absorbed woman named Carrie, which Andie Macdowell plays as if she were just a breezy, soft-spoken nice girl. Andie is so uncomfortable in this role that every single line is delivered in a monotone drawl. If you can get through her last line, "Is it still raining? I hadn't noticed," while they are standing in a downpour, without laughing, my hat's off to you.

Without spoiling to much, let's just say if you value romance, like actual romance involving two people getting along, spending some quality non-sex time together, you are not going to find it in this hollow, mechanical movie. And when I mean hollow, I mean so completely insincere that anyone who lives in the real world would find the characters' behavior mystifying until the ending credits. I still don't understand what this movie was trying to say.

I was 100% rooting for Hugh Grant (Charles) to end up with either of the two eligible women who are actually loyal and devoted to him, and who don't treat him and his feelings dismissively throughout the entire film, as Carrie does.

So terribly disappointing.

Four Weddings and a Funeral is a wonderful movie. Romantic comedies often throw people off because they tend to be cheesy or depressingly sugar-coated. However, this is a truly wonderful movie.

First off, the cast is terrific. They play off of each other wonderfully and it makes for a delightful atmosphere. Just take the lead, Hugh Grant, whose character doesn't appear fit the stereotypical lead at all. The humor is very witty, and the jokes are guaranteed to make you laugh even after you've seen the movie a dozen times.

Situations in the movie are set up to be played out perfectly. In one scene Hugh Grant is at a wedding and is seated with all of his ex-girlfriends. The scene is set up for utter humiliation.

Even with the quick-witted characters, and all the weddings, it wouldn't be a movie without that touch of drama that for many might just get a tear out of them.

Hands down all around great movie to fit most every occasion.

I watched this in 94 and quite enjoyed it.

Then when the radio played Wet Wet Wet to death I associated it with the film and never watched it again.

This is a great story with great characters and some genuinely funny moments.

Hugh Grant does what he does best being adorably foppish and awkwardly witty and is backed by an epic supporting cast.

It is hard to pick out a favourite couple as there is a real mash of personalities and everyone adds something.

The four weddings all have a humorous twist and I must admit I shed a few manly tears at the one funeral.

It has aged quite well but the pacing is slow compared to modern films and demands some of your attention.

I highly recommend this as a Sunday watch it should make you laugh and cry.

The ebb and flow of love and marriage are the primary concerns of this British import, an ensemble piece on couples, couplings and singles, most of them in their twenties and thirties, and how five events shape their life philosophies. A loopy film on the humor that flows naturally out of crowded celebration scenes and the tenderness emanating from one burial, 'Four Weddings' has some forced humor that is gag-oriented.

The Hugh Grant/Andie McDowell relationship is the centerpiece amid fringe stories of their friends, but they need more courtship. You can't earnestly wish this romance lasts a lifetime when all they share is a couple of nights in a hotel bed. The writers seem unsure about making this a satire or a full-fledged love story. The peripheral chronicles around them, especially the gay couple's, read more believable and rock steady than the main affair. If only Grant and McDowell, obviously two very attractive performers, had more time and words to flesh out their roles, we would have a better time.

I'm blind to the alleged charm of Andie MacDowell myself. That's why I think that casting her in this film was a stroke of genius, for so far as my senses tell me she perfectly fits the character she plays: a dull beauty who casts a spell over one out of every twenty men she meets, leaving the remaining nineteen cold and completely baffled. Charlie (Hugh Grant) is surrounded by MUCH more desirable female friends - even Duckface has something going for her - but instead of so much as noticing them he falls head over heels for an unattainable woman who is, on top of everything else, boring. Would have been as good as it is if Charlie's passion had made SENSE? Of course not.

Anyway, everyone I know with a low opinion of this film begins the case for the prosecution with an attack on Andie MacDowell. Is there anything else to dislike? I can't see it myself. This is one of the world's few perfect comedies, devoid of longeurs - perhaps the funeral didn't have quite the desired effect - with true comedy and a nice selection of characters. One has no difficulty keeping the dozen or so members of the main set mentally separate. How many romantic comedies can you say THAT about?

From the very beginning, it's clear that this is a different kind of romantic comedy. The characters are more thoroughly developed and the general tone is quite different from what one is used to from this genre. I mainly watched this because I had nothing else planned, it aired on TV, and I enjoy the work of Richard Curtis, who wrote this. I very much like the BlackAdder series and I found his directing effort(which he also wrote), Love Actually to be rather well-done. The plot is fairly good... the idea of having a small group of friends attend several weddings, all the while meeting new people(not to mention old "friends") and contemplating where their own love-life(or lack thereof) is headed was a great one, and it works out very well. The pacing is solid, for the very most part. Few(but still some) scenes seem drawn-out. Atkinson's character is basically a one-note joke, but his part is fortunately sufficiently small to not disrupt the flow. The acting is mostly magnificent, with a few exceptions. MacDowell clearly displays the lack of preparation that the top trivia entry alludes to. The humor is quite British, and almost entirely verbal. As such, I, personally, enjoyed the very majority of it. Anyone who isn't familiar with it or simply doesn't find it funny probably won't find much entertainment value in this. With quirky characters and sit-com situations/scenes, this is a somewhat unusual film for its genre. Two fun hours. I recommend this to any fan of British humor and, to a lesser degree, romantic comedies. 7/10

While starting off a little on the slow side, this film is never less than hugely enjoyable. The tale of the bachelor, his friends and their romantic escapades is constantly charming, witty, poignant and most of all funny, and the humour here is suitably understated. The film further benefits from being superbly written, beautifully filmed and sharply directed with a well structured story that could have easily have been episodic. Also whereas there have been films where I have been indifferent to the characters, the script ensured that the characters were warm and easy to empathise with. I think it is also to do with the quality of the acting, with Hugh Grant at his most charming, Andie MacDowell at her most enigmatic and Simon Callow and Kristen Scott-Thomas especially outstanding among the supporting cast.

Overall, Four Weddings and a Funeral is a hugely enjoyable and enduring film. 9/10 Bethany Cox

"Four Weddings and a Funeral" is a good example of a nice comedy with the peculiar British humor. It confirms that British people have a great sense of humor. Their humor is very classic and particular, which makes it so amusing.

This is a simple and silly movie, but reasonably likable. There's nothing extraordinary about this movie. But I'm sure that it isn't the priority of this film. The point is that this motion picture is great fun, quite entertaining, relaxing and good to give great laughters. Humor is the priority of this film, but funny humor, not the stupid humor of nowadays which isn't funny at all.

I think that the actors are all good and funny on their roles, but Hugh Grant steals the show as the "alergic to weddings" Charles. The comedian Rowan Atkinson has a small role (as Gerald, the priest in the second wedding). Although his role is almost minor, during those few minutes it's impossible not to laugh hysterically. Nothing else would be expected coming from Rowan Atkinson.

"Four Weddings and a Funeral" has also some gorgeous sceneries and images from Scotland: green places, big mountains, castles, old churches with fine architecture, etc...

Overall, an okay comedy. One of the funniest English movies ever.

Four Weddings and a Funeral is an extremely funny film. If the opening sequence doesn't make you laugh, nothing will. And conversely, if Matthew's moving rendition of W. H. Auden's "Stop all the clocks. . ." poem doesn't leave you close to tears, then you must be truly hard-hearted. Unfortunately though, what could have been an excellent comedy has a major flaw.

Charles (Hugh Grant) is a likeable chap whose friends are all getting married, leaving him as a sort of perpetual Best Man. Then American Carrie (Andie MacDowell) enters the picture and causes Charles to reassess his thoughts on marriage. Grant has charisma in spades, but sadly MacDowell does not. In fact, she is perhaps one of the least charismatic actresses ever. Not only that, but the limit of her acting ability seems to be a toothpaste-advertisement-style smile. Fortunately the casting of Charles's motley collection of single friends is excellent, and one can't help thinking he would be better off marrying one of them.

The film is almost fly-on-the-wall in its style, which gives it realism and allows it to explore the relationships within the group of friends on an intimate and everyday level. Hence the subtle humour works better than, for example, Rowan Atkinson's very obvious laugh-line attempts as a preacher with a penchant for Spoonerisms.

As one character notes, weddings have a habit of blending together in the memory and the director has played on this, creating four weddings that are visually similar and yet distinct. And of one of them is particularly memorable for the fact that it doesn't actually include a marriage ceremony. At its conclusion the film shows that whilst marriage is a noble institution, it is not for everybody.

Okay. There's something I have to say about this movie, and I feel it's pretty simple. Andie MacDowell is so bad at acting I found myself wishing they WOULDN'T get together. We basically are never shown anything interesting about her character except two points: She isn't faithful to her fiance, and she apparently isn't very interested in Hugh's character Charles. So why do we want them to get together? I didn't.

On the other hand, the movie is really quite funny and while the whole romantic ending thing left the taste of something horrible in my mouth, I enjoyed the beginning. All the brits are very fine actors and their part of the script is quite decent.

But if there are any casting directors out there, please PLEASE stop hiring Andie Macdowell. She can't act and she's not even that pretty.