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Father of the Bride

Father of the Bride

Comedy · Romance · 1991

George Banks is an ordinary, middle-class man whose 22 year-old daughter Annie has decided to marry a man from an upper-class family, but George can't think of what life would be like without his daughter. His wife tries to make him happy for Annie, but when the wedding takes place at their home and a foreign wedding planner takes over the ceremony, he becomes slightly insane.

Movie details

Father of the Bride

“Love is wonderful. Until it happens to your only daughter.”

1991 Comedy · Romance 1h 45m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

George Banks is an ordinary, middle-class man whose 22 year-old daughter Annie has decided to marry a man from an upper-class family, but George can't think of what life would be like without his daughter. His wife tries to make him happy for Annie, but when the wedding takes place at their home and a foreign wedding planner takes over the ceremony, he becomes slightly insane.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Father of the Bride?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Charles Shyer

Written by

Nancy Meyers · Charles Shyer

Steve Martin

Steve Martin

George Banks

Diane Keaton

Diane Keaton

Nina Banks

Kimberly Williams-Paisley

Kimberly Williams-Paisley

Annie Banks

Kieran Culkin

Kieran Culkin

Matty Banks

George Newbern

George Newbern

Bryan MacKenzie

Martin Short

Martin Short

Franck Eggelhoffer

BD Wong

BD Wong

Howard Weinstein

Court is in session

Put Father of the Bride on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.