Average Rating: 4.9/10
Reviews Counted: 34
Fresh: 14 | Rotten: 20
No consensus yet.
Average Rating: 4.4/10
Critic Reviews: 11
Fresh: 2 | Rotten: 9
No consensus yet.
Average Rating: 2.8/5
User Ratings: 2,336
Sam Davis (Michael Angarano) convinces his former best friend to spend a weekend with him to rekindle their friendship at an elegant beachside estate owned by a famous documentary filmmaker (Lee Pace). But it soon becomes clear that Sam is secretly infatuated with the filmmaker's fiancée, Zoe (Uma Thurman), and that his true intention is to thwart their impending nuptials. As Sam's plan begins to unravel, he is forced to realize how complicated love and friendship can be.--(c) Magnolia
Apr 8, 2011 Limited
Jun 21, 2011
Magnolia Pictures - Official Site
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Yes, it's been done before (and better). But Uma lends it a sly and sexy spark.
The contradictory elements stack up at the same time your interest in the characters dwindles.
The offbeat comedy is not entirely devoid of charm, but its derivativeness is almost embarrassing.
Does Uma Thurman perpetually underestimate herself, or is Quentin Tarantino the only filmmaker who appreciates her?
Young Winkler needs to learn that simply instructing characters to smirk and look ironic is not enough; you actually have to come up with funny things for them to say.
Winkler is a titan at balancing comedy and drama. And Angarano is hilarious as our as our lead, channelling a young Vince Vaughn: the out of place winks, the full confidence in situations he has no way of gaining.
This marriage for profit story featuring a delusional wedding crasher is neither romantic nor funny.
Zoe's heartfelt declaration 'I can't be your mermaid,' succinctly sums up the entire situation.
It's only funny because its putrid dialogue is so unfunny that it drags flies.
More interested in melancholy wryness than belly laughs, and the low-key results have a pleasant fizz. [Blu-ray]
Doesn't offer anything worth the time invested, issuing derivative characters and tuneless situations of longing coated with an ineffective layer of crooked whimsy that often acts like salt in the wound.
Well acted, with plenty of color around its edges, Ceremony too often dawdles and dissembles when it should be digging deeper. Still, the performances make it connect, even though Winkler seems to have an aversion to catharsis.
[Angarano] and Thurman have scenes of such honesty and raw emotional energy that it's almost possible to forgive "Ceremony" its sometimes sluggish pacing and its peevish protagonist. Almost, but not quite.
In "Ceremony," a Wes Anderson impersonator attempts a version of "Wedding Crashers," and it's about as bad as you might think.
In the end, Ceremony shows occasional promise but mostly pretense. But at least it knows when to wrap up the party and go home.
While Ceremony may not look or feel terribly original, Winkler has clearly learned a lot from his study of [Wes] Anderson's oeuvre, and he's made a comedy that's intelligent, stylish, and effective even when it's emulating someone else's work.
Ceremony isn't spectacularly original, but it's a proficient breakthrough that manages to make its familiarity charming.
Winkler's writing works too hard to achieve the frothy quality that he attempts.
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