Mother of the Bride Review | Review | Summary | Review | Miranda Cosgrove | COMS ROM | Streaming | USA | Mother of the Bride | Skip – Enter

It sounds like a joke, but it’s not. Next year will mark a quarter-century since the release of “Miss Congeniality,” in which Sandra Bullock played the box office hit Crazy Heart (blocking) a potential attack on the next Miss United States beauty pageant.

In that Donald Petrie film, Bullock – or rather Hart – played an officer with a usually stern expression as his partner. Benjamin Pratt, an accomplished American actor with a Peruvian mother. The bond between the unlikely beauty queen ‘wannabe’ and detective Eric Matthews, called Brad in the film, develops scene by scene until a satisfying conclusion.

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Time has done its thing, and that FBI officer is taking the lead in a new comedy today, this time protected by Netflix’s millionaire umbrella. In “Mother of the Bride,” Pratt (already 60 years old) Will, R.J. (Sean Deal), lover and future husband of the young influencer Emma (Miranda Cosgrove, star of Remembered Icarly). The latter is joined by his mother, Dr. Lana, and is played by popular actress and former model Brooke Shields (age 58).

At an hour and a half, Mark Waters’ (director of “Mean Girls” and “Crazy Friday”) film focuses on the sobering journey between RJ and Emma leading up to their wedding. As is common these days, this young couple knows a lot about each other, but little depth about their families. So, on the day they all meet at a hotel in Phuket, Thailand, they discover something completely unexpected: the bride and groom’s parents are ex-lovers from their university days.

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This, incidentally, completely derails the plot. The young couple relinquish their importance to the plot with extraordinary speed, and later, Will – a very guarded brat, graying and quick in reflexes – and Lana, an overly innocent shield, though cute as usual, take center stage. The focus is on encouraging the audience to answer one of the most exploited questions/resources in cinema, television, literature and more: Where was the fire and are there ashes left?

In the middle of a script that exposes its weaknesses from the very beginning, the first thing that catches the eye is “Mother of the bride” is a series of elements artificially placed around the above pair. Lana travels to Thailand with a friend, mischievous Aunt Janice (Rachel Harris). For his part, Will does the same to couple Scott (Wilson Cruise) and Clay (Michael MacDonald), who, along with the aforementioned Janice, try to add some mischief to two ‘love stories’ unfolding simultaneously.

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Janice seems very concerned about her friend Lana leaving her ‘academic’ side behind and giving romance a chance. That’s why he encourages her to talk to her ex, Willy, every time he can or to accept a date with anyone who dares to flirt with him in the middle of a ‘pleasure trip’. From the opposite side, Scott and Clay try to represent a liberal couple, ironically, Will and Lana fervently believe in the ‘solid love’ they once had in their college days. However, none of these three ‘cupids’ engage because their speeches are always predictable.

All the shortcomings that the trio offers in ‘Together’ are compensated by the series of set design and location details that “Mother of the Bride” reveals. As if it’s an endless tourist promotion spot, Netflix’s new romantic comedy doesn’t skimp on the most beautiful sun, beach and sand views available to anyone who dares to visit Phuket.

A little dramatic element tries to work its way through the ‘old love’ story between Will and Lana. Emma is urged to fulfill contractual obligations with the brands that sponsor her social networks. The young man questions, but finally accepts.

However, Emma’s mother will feel displaced in the wedding arrangements. What should be the most beautiful day of your young daughter’s life is about grades and ‘alternatives?’ The only substantial thing about Mark Waters’ film is that it shows a kind of obsessive ‘capitalism of love’ from which we neither want nor can separate ourselves.

Prioritizing the parent’s story, “Mother of the bride” choosing to abandon the role of Emma and RJ altogether. It’s not a far-fetched exercise to imagine this movie as a ‘rom-com’ between Brooke Shields and Benjamin Pratt.

In these ways, Miranda Cosgrove seeks to leave her identity (as a serious young woman, under pressure to look good with brands that support her marriage, while at the same time trying not to repeat her mother’s ‘sentimental’ mistakes) , in Sean Dale everything happens the other way around, whose performance we Can be described as ghostly. Not only because the film lacks relevant action in the 90 minutes it lasts, it doesn’t show even the slightest attempt to connect with its ‘father’ in fiction.

Accustomed to Netflix’s algorithm occasionally returning as many good as bad movies, “The Mother of the Bride” is clearly in the second batch. The small ambition and minimal novelistic instincts of its script strike the balance of a proposition involving a handful of actors, perhaps inserted in another context and under a slightly more solvent plot, working together.