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The Wedding Date

The Wedding Date

Romance · Comedy · 2005

With the wedding of her younger sister fast approaching, Kat Ellis faces the undesirable prospect of traveling alone to London for the ceremony. While this is bad enough, Jeffrey, the man who left her as they moved closer to marriage, happens to be the groom's best man. Determined to show everyone -- most of all Jeffrey -- that her romantic life is as full and thrilling as ever, Kat hires a charming male escort as her date.

Movie details

The Wedding Date

“Love doesn't come cheap.”

2005 Romance · Comedy 1h 28m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

With the wedding of her younger sister fast approaching, Kat Ellis faces the undesirable prospect of traveling alone to London for the ceremony. While this is bad enough, Jeffrey, the man who left her as they moved closer to marriage, happens to be the groom's best man. Determined to show everyone -- most of all Jeffrey -- that her romantic life is as full and thrilling as ever, Kat hires a charming male escort as her date.

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 The Wedding Date?

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

Clare Kilner

Written by

Dana Fox

Debra Messing

Debra Messing

Kat Ellis

Dermot Mulroney

Dermot Mulroney

Nick Mercer

Amy Adams

Amy Adams

Amy Ellis

Jack Davenport

Jack Davenport

Edward Fletcher-Wooten

Sarah Parish

Sarah Parish

TJ

Jeremy Sheffield

Jeremy Sheffield

Jeffrey

Peter Egan

Peter Egan

Victor Ellis

Court is in session

Put The Wedding Date 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.