Love. Wedding. Repeat

A wedding, several versions. Jack (Sam Claflin), the bride’s brother, has to juggle an angry ex-girlfriend (Freida Pinto), an uninvited guest who hides a secret, a sedative that reached the wrong recipient and the girl of his dreams who disappeared in the fog (Olivia Munn), and the ending is different every time.

We don’t understand what Netflix considered so “innovative” in the comedy Love. Wedding. Repeat, released on the platform on Friday, insisted on using this word in the presentation of the film. Perhaps with one exception (which is rather bad), the romantic comedy offers nothing innovative, starting with the title too similar to the negligible Love, Wedding, Marriage from 2011 and ending with the protagonist who later realizes that he should make a definite gesture to win the love of his life.

But in these times when the refuge in cute stories seems more important than ever, innovation is the last thing the public needs, so we welcome Love. Wedding. I repeat with more goodwill than I usually do. Is it excusable, though, that I only laughed for the first time in the 38th minute? Normally I would say no, even if the script manages to pile up more funny moments in the second half, shaking off some of the commonplaces of the genre.

If the bride is usually in the spotlight at weddings, here’s her brother. Sam Claflin, the British actor who failed to make a name for himself in Hollywood, although he had significant roles in franchises such as Pirates of the Caribbean and Hunger Games, plays Jack, the brother who does his best as the wedding of his sister, Hayley (Eleanor Tomlinson), let the rope go. And it won’t be long before he has to escape from his comfort zone. It is true, Romanians who have been to a wedding at least once in their lives will be reconfirmed the prejudice that the British have this very limited area, but this is what we have, this is what we parade with.

In The Great Hangover, the more or less dubious humor came from the fact that all the characters ended up committing, for various reasons, the greatest nonsense, and in Love. Wedding. Repeat the source is the fact that the heroes do their best to keep up appearances, even when fate is against them. It does not help at all that the wedding takes place in an imposing Italian mansion and that Hayley seems to marry not only the Italian Roberto, but his entire clan of relatives with his nose up. This premise keeps the audience engaged because, although you always expect a character to derail completely, this does not actually happen, the story amusing with its incredible efforts to keep everything within acceptable limits.

Maybe in another context the comedy would disappoint, especially when the promotion campaign seems to promise that at the wedding everything that could go wrong is happening, but the premise can be seen completely differently now, when it has to somehow, in a very British spirit, we are content with certain actions, although we would like to do our best to fill our program with others. If we are in isolation, the characters in the film are in a quarantine of common sense, which paradoxically is simultaneously a plus and a minus of comedy.

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