- Network: HULU
- Series Premiere Date: Jul 31, 2019
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Critic Reviews
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There’s nothing incredibly groundbreaking and innovative about any of this… but there doesn’t really need to be. It’s a cute, lighthearted throwback that goes down easy in an era of tough-to-watch dramas, and like The Mindy Project, it doubles as an affectionate tribute to classic rom-coms. The cast’s quick chemistry is remarkable, too.
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Over the course of the first seven episodes, Four Weddings is both a romance and an ode to romance that makes for a long, somewhat contrived twist-filled journey. But that long road also makes the series’ pivotal moment—when we finally get to that life-altering first kiss—well-earned, and even more gratifying.
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All of this unfolds predictably, but the sharp writing keeps it from descending into trope and the production design has enough eye candy to remain fresh.
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While each episode that contains one of the main five events serves us up something close to the emotional impact of the original, the episodes in between feel too watered down to say anything.
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At times it’s charming, at times it’s amusing, and, at times, it’s clever. But in the seven episodes made available for review, it never becomes a series you can’t wait to watch.
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Uneven start, then improves and coasts. Appealing cast, zero calories.
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The 10-episode miniseries takes ample creative license with the original. Once you accept that, you’re able to enjoy the miniseries for what it is: a funny, overall well-observed take on Millennial love and the toll that wedding season can take on a group of friends.
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Four Weddings might not be the work of art we wanted it to be, but it’s fun and watchable. Just maybe don’t watch the original before you dive in.
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Four Weddings and a Funeral is barely a remake, and that’s probably for the best, playing out with so many differences that you’ll struggle to remember what you’re supposed to be watching.
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The sporadic times they all share the screen rarely spark in the way that the joyfully chaotic group scenes of the first “Four Weddings and a Funeral” did. We hear an awful lot about what good friends they are without the series doing much to sell it. It’s perfectly nice to spend a few hours with them, but they’re not likely to make a huge impression beyond their inevitably happy endings.
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"Four Weddings" was best suited to a 2-hour film in the 1990s. It's the kind of story that resists updates and reimagining, and no amount of charm from the actors or rom-com jokes from the writers can make the new version work in 2019.
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Mostly, Four Weddings and a Funeral plays like a cynical grab for attention, based on the not-entirely-faulty assumption that any form of name recognition is an advantage when it comes to making noise in a crowded streaming universe. Yet even if the invitation works on that level, faced with the little matter of creatively capitalizing on that opportunity, Four Weddings won't catch any bouquets.
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Blander, more hackneyed and less memorable, it’s also four times longer.
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The problems that stymie this series are the same issues that gum up every less-than-inspired romantic comedy: unrealistic plot twists that happen too suddenly, a lack of rich character development, and dialogue that a real human would never say to another real human in a hundred years. ... Beginning in episode four, when the funeral makes its appearance, some of the characters start to take on a bit more dimension.
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Jettisoning the film’s narrow focus on social gatherings doesn’t free up the series so much as leave it unmoored, a muddled spiderweb of relationships that only occasionally manifests some moving development. ... But the most galling thing about this new Four Weddings and a Funeral is how downright unimaginative the rest of it is.
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Even if you're a sucker for rom-com cliches--declarations of love in the pouring rain, check--this cloying and clumsy rehash may harden your heart. [5- 18 Aug 2019, p.11]
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Dreary and predictable. ... I would not want to sit with any of the characters in this adaptation. Everyone is either lousy or boring or both. ... The show is a strange misfire at every level. The self-conscious references to other rom-coms make it seem even worse in comparison.
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The mood they [co-creators Mindy Kaling and Matt Warburton] are going for in this poorly conceived and surprisingly clumsy series version eludes their grasp, no matter that Curtis himself is credited as a producer.
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The series starts off in a boggle and never really resets, flitting around trying to find both tone and purpose. Any ties to the film are…remote.
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The lack of novelty wouldn’t be a problem if the team behind this reboot had managed to recreate the witty, propulsive feel of the movie. Instead, episodes get bogged down in the friends’ daily lives, providing more mundane backstory than any Four Weddings fan could want. The dialogue is rough; instead of tapping into the literary sensibilities of British comedy, Kaling and co. exploit the London backdrop for broad stereotypes about upper-class and (more egregiously) low-income English people alike.