The Flipcritic

Weddings. Has there been a more dependable romantic-comedy subject for the past two decades? Search for “wedding” at IMDB.com, and you’ll get at least nine popular movies surrounding the theme. Perhaps no single event in a person’s life, make that two people’s lives, captures the tension and neuroses of entire families as does a nuptial celebration. And just when I thought one couldn’t possibly wring more out of the matter, along comes THE WEDDING DATE, and what a smart little charmer it is.

As with most romantic comedies, two characters we want to see kiss must inhabit the story. Here, they are Debra Messing of WILL AND GRACE fame, and Dermot Mulroney, who played Julia Roberts’s best friend in MY BEST FRIEND’S WEDDING, a movie that seems to be this one’s sibling. She plays Kat Ellis, a New Yorker bound for England to attend to her sister’s wedding. He plays Nick Mercer, her date for hire.

Why is he for hire you might ask? Because Nick, as he describes himself at one point, is a whore, a high-class male escort whom Kat has hired to accompany her. Why must she resort to such drastic measures you say? Well, she is somewhat neurotic as most romantic heroines these days must be, afraid of drawing attention being the unwed older sister, and somewhat mindful of the presence of her ex, who happens to be the groom’s best man. To put it more bluntly, Nick is a plot requirement.

I must admit that I was highly skeptical whether all of these elements would work out nicely, since the movie’s opening moments somewhat annoyed me. I could scarcely believe that a lady as lovely as Kat would need to pay couple of grand just to look taken. But there it was, an unnecessary device before me. Either I work with it or take it begrudgingly. It was too early for me to dislike the movie entirely, so I went with it.

What unfolds are some of the more intelligent romantic dealings since Bonnie Hunt’s RETURN TO ME. Every bit of humor develops out of natural progression. No laughs feel forced or manufactured, characters do not become unreasonable or cynical, slapstick is sacrificed for wit, and lovers are not denied each other by intricate misunderstandings. Aside from Nick’s profession and Kat’s transaction with him, everything pretty much makes perfect sense (within the movie’s confines of course).

All of these events of course revolve around Kat’s thoughts for her former beau Jeffrey (Jeremy Sheffield), and eventually Nick. The film makes it clear in its opening moments of what they might have had if they had not broken up. Does she miss him or does she merely want to make him suffer? Regardless of her motive, she makes him jealous once she’s in the company of Nick. And as expected, she will realize what an admirable man Nick is (the ole prostitute with the heart of gold cliché, this time a male one).

What is not expected is how astute and debonair Nick seems. He is a learned man, who has contributed to that highbrow publication, The New York Times Magazine. He says all the right things, knows what buttons to push, and can read women’s minds the way Kasparov can read a chessboard. He is a social creature of the nth degree, and yet by gosh, something is missing in his life (Do tell!). And need I go further in saying Kat might complete him?

Though it may sound like I am mocking the film, I in fact treasure its approach in dealing with its all too familiar conventions. Part of this pleasure can be attributed to its wonderful cast, which refuses to relegate their characters to exaggeration. Amy Adams is vibrant as Kat’s younger sister Amy. She had that unforgettable role as the nurse duped by Leonardo DiCaprio in CATCH ME IF YOU CAN, and proves to be equally so here. Jack Davenport, who plays the groom, provides the levelheaded good-hearted soul the movie intends to upend. Sarah Parish, with her mischievous sexiness, delivers the film's naughtiest and most hilarious lines as Kat's best friend T.J. It’s always nice to see Holland Taylor and the cantankerous women she brings to the screen (remember the strict law professor in LEGALLY BLONDE?). And Peter Egan, that veteran of British TV, proves that he can steal scenes with the best of them, with his quiet dignity and impeccable comic timing.

Debra Messing shows why her character Grace in WILL AND GRACE is endearing despite her annoying immaturity. When she cuts the shtick, she has the ability to draw our sympathy, with those puppy dog eyes and adorable pout that make her hard to dislike. She has a future as a comedic actress, as long as she chooses to portray characters that are needy but not too difficult. Dermot Mulroney once again shows what a superb leading man he can be. Women I know still swoon when they remember him from MY BEST FRIEND’S WEDDING. Though they like to remember him for his looks, I remember him for acting toe to toe with Julia Roberts, without giving an inch. He rarely goes for those handsome roles, preferring those that go against type (remember him as the clueless groom in ABOUT SCHMIDT?), and it shows here, playing a character whose mystery and wisdom enhances his physical magnetism.

It’s refreshing to see a cheerful love story like THE WEDDING DATE, one that refuses to give in to dumb pranks to elicit laughs. It follows through with its premise without snagging on complex contrivances, and is sharp enough to know where to draw its humor. Romantic comedies these days can be such a bore with their artificial setups. Perhaps it’s best not to classify this one as such. If you can forgive its initial misstep, it can be a smart, understated, and lighthearted romance.

Posted by FLIPCRITIC at April 15, 2005 04:01 PM