The Menu Story:-
Amidst persistent pleas from their mother, the reluctant trio reluctantly agrees to attend the wedding, only to disrupt the proceedings from the outset. Their drunken antics include airing grievances against Eloise’s polished hospitality, ruining the bride’s lackluster bachelorette party, and providing moments of mild gross-out humor by vomiting into nearby foliage as needed by the script. Donna, their mother, observes their frequent bouts of nausea, occasionally indulging in her own substance-induced antics, such as consuming pot gummies. Despite being top-billed, Allison Janney’s character, Donna, often fades into the background amidst the chaos
Movie Ratings
| Release Date | 18 November 2022 |
| Language | English |
| Genre | Comedy, Horror, Thriller |
| Duration | 1h 46min |
| Cast | Ralph Fiennes, Anya Taylor-Joy, Nicholas Hoult, Hong Chau, Janet McTeer, Judith Light, John Leguizamo, Reed Birney, Paul Adelstein, Aimee Carrero, Arturo Castro, Mark St. Cyr, Rob Yang, Rebecca Koon, Peter Grosz |
| Director | Mark Mylod |
| Writer | Seth Reiss, Will Tracy |
| Cinematography | Peter Deming |
| Music | Colin Stetson |
| Producer | Adam McKay, Betsy Koch |
| Production | Hyperobject Industries |
| Certificate | 16+ |
The obligatory romantic subplot between Donna and Henrique, a staple in wedding comedies featuring estranged parents, feels underdeveloped amidst a clutter of romantic entanglements. Paul contemplates a threesome with Dominic and their attractive host Alcott, while Alice finds herself torn between her unavailable lover and a charming stranger she meets on the flight to London. The latter, portrayed by Dustin Milligan, channels his signature sweet-hot-dork persona from “Schitt’s Creek,” injecting some much-needed charm into the proceedings. However, just as chemistry begins to spark between him and Bell’s character, the film abruptly shifts focus to less engaging storylines involving less appealing characters.
A flood of tearfully revealed secrets in the final act attempts to rationalize the characters’ sociopathic behavior, but it feels too little, too late to endear them to the audience. While Bell and Janney manage to inject some pizzazz into their performances, Platt’s comedic efforts sometimes come across as forced. However, it’s Isaach De Bankolé’s surreal presence that leaves the most lasting impression. De Bankolé navigates the chaotic narrative with the grace of a ballerina in a barn dance, adding a touch of intrigue to an otherwise lackluster film.
In the end, “The People We Hate at the Wedding” falls short of delivering the timeless charm of vintage romcoms. Despite moments of humor and charm, the film struggles to strike the right balance between quirkiness and genuine comedic substance. While certain performances shine amidst the chaos, the overall narrative feels disjointed and lacking in depth. Ultimately, it’s a forgettable entry into the genre that fails to leave a lasting impact on audiences.
