John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Henry Roth is a man afraid of commitment up until he meets the beautiful Lucy. They hit it off and Henry think he's finally found the girl of his dreams, until he discovers she has short-term memory loss and forgets him the very next day.
Friendless Peter Klaven goes on a series of man-dates to find a Best Man for his wedding. But when his insta-bond with his new B.F.F. puts a strain on his relationship with his fiancée, can the trio learn to live happily ever after?
Jim Levenstein has finally found the courage to ask his girlfriend, Michelle Flaherty to marry him. She agrees to get married, but the problems don't stop there for Jim. Now along with Paul Finch and Kevin Myers, Jim must plan the wedding. Unfortunately Steve Stifler is in town and won't let the wedding go past without having some fun himself, which includes setting up a secret bachelor party. Written by
At the end of the film, when the newly-married couple take to the dance floor for their first dance, their chosen song is 'Into The Mystic' performed by Van Morrison but by the time the song comes to an end, it is no longer Van Morrison singing it and is not the same version of the song as the one that they start dancing to. See more »
Well, Michelle, we did it. Happy graduation.
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American Pie is a registered trademark of Don McLean. See more »
There's one thing you have to say for `American Wedding': like the two `American Pie' films that came before it, it is unapologetically unashamed of its shamelessness. Here's a film that doesn't try to hide its gleeful perverseness under a bushel of coy double entendres; instead the film revels in its frank and openhearted treatment of sexuality and lust. `American Wedding' is clearly a comedy about sex and it doesn't pretend to be anything but. Whether this is a good thing or a bad will, I suppose, depend on your own affinity and tolerance for jokes and images that routinely push the boundaries of common decency and good taste. In fact, the film wears its tastelessness almost as a badge of honor. And just in case you're unfamiliar with this series and its brand of humor, subtlety and wit are not considered virtues in an `American Pie' world.
In `American Wedding,' Jim and Michelle - he a self-described pervert and she a self-described nympho - have finally agreed to tie the knot. The film centers around Jim's attempts to convince Michelle's square, uptight, sexually repressed parents that he is indeed husband material for their less-than-innocent daughter. The problem is that his efforts are consistently being undermined by the inane, out-of-control antics of Steve Stifler, the foulest-mouthed, dirtiest-minded professional adolescent this side of Bluto Blutarsky. Seann William Scott, in fact, steals the show as Stifler, providing an over-the-top manic energy that is both endearing and infectious.
Indeed, without Stifler, there would be precious little to recommend this particular `American' outing. The jokes and setups, for the most part, are crude and graphic without being very imaginative, and writer Adam Herz and director Jesse Dylan, even when they hit on an inspired piece of silliness (as when Stiffler winds up dancing mano a mano with a guy in a gay bar), end up diluting the humor by letting the scenes drag on well past the point where they're truly funny anymore. This is not to say that there aren't a few good laughs in `American Wedding,' just that they don't come often enough to really lift the film much above the ordinary. Luckily, the funny moments increase a bit in the final stretches of the movie. In the film's defense, I would also add that, like its two predecessors and unlike many sexually charged teen comedies, `American Wedding' conveys a certain affection for its characters. In addition to Stifler, Jason Biggs as Jim and Eugene Levy as Jim's befuddled but strangely tolerant and supportive father come across as decent, well-meaning and likable individuals.
The film itself may be uneven, but as a character actor who makes an indelible impression on the material at hand, Scott is the genuine article. He transforms what is essentially cinematic rotgut into sweet-tasting vintage wine. All hail the Stifman!
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