Kym Buchman has been in drug rehab for nine months, during which time she has been clean. She is released temporarily from the facility to attend her sister Rachel Buchman's wedding. During her release, Kym is staying at the family home, where the wedding is taking place. As such, it is like Grand Central Station for the duration of Kym's stay, which may not be the most conducive situation for her in constantly being exposed to the watching eyes of those who know and don't yet know her, but know of her situation. The reunion with her family members starts off well enough, but issues around Kym's release from rehab quickly surface. Kym and Rachel's father, Paul Buchman, wants to make sure that Kym is all right at all times, which to Kym feels instead like he doesn't trust her. Rachel slowly begins to resent Kym's situation taking over what is supposed to be the happiest day of her life, some of which is directed by Kym, some of which isn't. One person present but largely not included ... Written by
There is no pre-recorded background scene music throughout the film. All music heard in the film is performed live on-screen. See more »
When Kym and Rachel are talking as Rachel is trying on her dress, Rachel bends down to the floor and her arm disappears from the shot, in the next shot Rachel's side is visible again as if she had stood up instantly. See more »
[Upon learning her sister is pregnant]
That is so unfair!
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An ethnically-diverse family, a culturally-diverse wedding, but not one person worth caring about...
Director Jonathan Demme falls rapturously, wrongheadedly in love with screenwriter Jenny Lumet's dysfunctional family at the heart of "Rachel Getting Married". The longer Demme and his editor allow this brood to individually sound-off (in groups and in private), the further alienated they become from the audience. Anne Hathaway plays smudgy, shaky Kym, a young woman who is given a reprieve from rehab to attend her sister's wedding, yet she is a walking (and talking!) reminder of old wounds and problems-past, and nobody knows how to respond to her and her newfound sobriety. Kym's family, an upwardly mobile lot with both yuppie and Bohemian leanings, take turns being passive and aggressive with her, until no one even knows what they're fighting about anymore. Lumet sneaks in some intricate bits of verbal business that many viewers might uncomfortably recognize, but a subplot about a deceased family member is pure melodrama (particularly the way Demme presents it). In between sibling and parental bouts, Demme gives us music and celebration and seating arrangements and relatives...but what about Kym? Is she the heroine of this story or a romanticized bad example? Demme isn't quite sure, and by the end I wasn't sure whether we were supposed to like this girl or not. Due to Hathaway's mercurial (and at times uneven) performance, the picture leaves bad vibrations behind--that and a lot of familial one-upmanship which grows tiresome quickly. ** from ****
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