Bridesmaids movie video clips

Kristen Wiig, the US comedienne and star of Saturday Night Live, has large blue eyes that easily transmit incredulity and a pair of stork-like legs that lend themselves to clowning. When we first see her character Annie in Bridesmaids, the legs are thrashing comically in a bout of flamboyantly bad sex with her on-off bed-partner Ted (Jon Hamm of Mad Men, gamely playing a supremely self-satisfied prat). Next, they are dangling atop a security gate, which she is attempting to climb over when it’s unexpectedly set in motion.

Bridesmaids movie images

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Bridesmaids movie cast and crew

Directed by
Paul Feig

Kristen Wiig

Terry Crews

Maya Rudolph

Tom Yi

Elaine Kao

Michael Hitchcock

Kali Hawk

Joe Nunez

Rebel Wilson

Matt Lucas

Jill Clayburgh

Bridesmaids movie overview

Kristen Wiig, the US comedienne and star of Saturday Night Live, has large blue eyes that easily transmit incredulity and a pair of stork-like legs that lend themselves to clowning. When we first see her character Annie in Bridesmaids, the legs are thrashing comically in a bout of flamboyantly bad sex with her on-off bed-partner Ted (Jon Hamm of Mad Men, gamely playing a supremely self-satisfied prat). Next, they are dangling atop a security gate, which she is attempting to climb over when it’s unexpectedly set in motion.
Annie has recently lost both her bakery business and her boyfriend, and Ted’s habit of saying “I’d really like you to go now” with a broad smile after sex is slowly shattering any illusion of a new relationship. So it is not the best time to hear that her best friend Lilian (Maya Rudolph) is getting married, a move which catapults them both into the costly, fevered froth of dress fittings, bachelorette parties and bridal showers.
Penniless Annie irons on a brave face and gets to work organising events in her role as matron of honour, only to find that a sleeker, richer, more recent confidante, Helen (Rose Byrne) is using the occasion to establish herself as Lilian’s official number-one friend. Covert hostilities between the two step up to outright war as Annie comes close to losing her mind and wrecking the entire wedding.

If Bridesmaids is perhaps not as groundbreaking as the hype suggests – Bridget Jones’s Diary propelled its heroine through similar embarrassments – it is none the less infinitely fresher and funnier than anything else the stale rom-com market has produced of late.
Wiig, who co-wrote the screenplay, is superb on the details of female rivalry: the lukewarm enthusiasm that is code for outright rejection and the rage bubbling beneath an eroding veneer of pleasantry. She has a knack as a performer, too, for rendering bad-taste humour funny rather than offensive. Her Annie resembles a slightly out-of-control child in an adult body, blurting out the things that most people only think.
Judd Apatow, the producer, coarsens things unnecessarily by shoehorning in an unlikely, scatological scene in which the bridesmaids are simultaneously struck with a stomach bug while trying on dresses in a bridal boutique. But the talented cast of actresses strike one as game for anything: in particular, the scene-stealing Melissa McCarthy as Megan, a disarmingly confident, heavyweight straight-talker incongruously garnished with a pearl necklace.
It takes a strong man to survive in this unleashed torrent of oestrogen, and Chris O’Dowd manages it, as an Irish traffic cop who has more wit and pride than most movie love interests.

Bridesmaids movie review

Bridesmaids is a film about female friendship and the search for love, but don’t worry: it’s not Sex and the City. It’s heaving with gags about puking and pooing, but even though Judd Apatow is one of its executive producers it’s far from being just a girly gross-out comedy. Sharply written and winningly performed, it delivers more laughs than any movie released this year, but also, the longer it goes on, develops into a surprisingly poignant evocation of self-scuppering loneliness.
Kristen Wiig, the Saturday Night Live actress who has form as a scene-stealer (Whip It, Ghost Town, Knocked Up), plays Annie, a Bridget Jones-like thirtysomething who lost her bakery in the recession, her boyfriend shortly afterwards, and is now in a demoralising relationship with smarmy, condescending Ted (Jon Hamm).

When her friend Lillian (Maya Rudolph) gets engaged she sets about trying to organise the perfect wedding party. She has a rival though — Helen (Rose Byrne), beautiful, multi-lingual, well-connected, and also Lillian’s best friend. In one of many exquisitely embarrassing set-pieces the two of them vie at the engagement party to deliver the most gushing address to the future bride, even breaking out into melisma-heavy songs.

Soon the pair of them are joined by goody-two-shoes Becca (Ellie Kemper), ballsy blonde Rita (Wendi McLendon-Covey), and Megan (Melissa McCarthy), an outsize military operative who sports a carpal-tunnel cast on her arm and whose unconventional take on female traditions is signalled by her desire for a Fight Club-themed bridal shower. A dress fitting they attend turns horribly messy after they contract food poisoning. A plane trip they take to Vegas turns into a drunken melée.
These brilliantly handled scenes are as awkward and nightmarish as the family gatherings in Festen, while Wiig’s character has the teetering unpredictability of one of the women in a Mike Leigh film. It’s the painfulness of Bridesmaids as much as its gleeful crudity that makes it so successful: the silly jealousies that flare up and the unspoken hurt that drives a wedge between friends are captured all too acutely.
The script, by Annie Mumulo and Kristen Wiig, is full of nice touches – Lillian characterises her fiancé perfectly when she observes that he calls her “dude” a lot – as well as memorable altercations between Annie and the customers who come into the jewellery store at which she works only to be rebuked for their dreams of happy-ever-after romance.
Paul Feig is the director, but what makes Bridesmaids so striking is the near-absence of male figures, so that it becomes almost a mirror image of The Hangover. The exception is Chris O'Dowd, who plays a sweet police officer who uses ugly carrots as metaphors as part of his courtship of Annie. Although their relationship is delicately handled, it still feels a touch extraneous.
The real heart of the film lies in the interactions between the women. Wiig and Rudolph have attractive faces of the kind – lined with wrinkles and specked with freckles – you rarely see in mainstream American cinema. When they catch up with each other at a café they get food stuck in their teeth like people do, but actors in movies don’t.
There are weaknesses – Matt Lucas and Rebel Wilson, playing a freaky-deaky brother-sister duo, appear to have been shipped in from another movie; the editing is a little slack so that the final third teeters on a fraction – but these are more than offset by the wittiness of the writing, the depth of characterisation, and the improvisatory relish the performers bring to their roles. Though I’ve seen Bridesmaids three times, I can’t wait to see it again.