I had a mixed reaction to Rachel Getting Married. While I was genuinely impressed by the performances—particularly Anne Hathaway’s—I struggled to connect with the story and feel invested in what was happening. Ultimately, that's down to the director; it’s his responsibility to draw you into the narrative, and Jonathan Demme didn’t quite succeed here. One thing that immediately felt jarring was the constant use of a shaky, hand-held camera. There wasn't a single stable shot throughout the entire movie, which actually gave me a headache during the first few minutes. Combined with the lack of proper development for the characters and plot, it made the film feel like I was watching someone’s wedding video—and not a particularly engaging one at that. It felt oddly reminiscent of a Louis Theroux documentary; I honestly expected a man in dark glasses to pop up any minute and start interviewing people. That might have actually improved things… Scenes often lingered for too long without serving a clear purpose, and I couldn't understand Demme’s choices. He’s directed some excellent films before, so seeing his name attached to this was surprising; it felt more like a film student’s project, which isn't inherently bad, but it’s disappointing coming from someone of his stature. There were moments when I fast-forwarded simply because the scenes were dragging and I was losing interest, and I even considered turning it off altogether—something that doesn’t happen often. Despite my frustrations, I’m glad I persevered, as the second half did pick up speed and finally introduced some meaningful character drama. Essentially, the film centers on a woman struggling with addiction who is temporarily released from rehab to attend her sister's wedding, and she largely derails the event. Anne Hathaway delivers an impressive performance as Kym, a self-centered and reckless addict, portraying her role convincingly enough that you don’t feel any sympathy for her character. She comes across as completely self-absorbed and unlikeable, even overshadowing her sister Rachel when Rachel announces her pregnancy, repeatedly shifting the focus back to herself. I imagine those familiar with the challenges of dealing with drug addiction will find these behaviors painfully relatable—it felt very authentic in that respect. Rosemarie DeWitt was also excellent as Rachel, portraying the older sister torn between loyalty and a desire for just one day in the spotlight without her troubled sibling stealing the attention. However, Bill Irwin’s portrayal of their father resonated most deeply with me; he is caught in an impossible situation, forced to choose sides between his daughters, and conveys his inner conflict with remarkable subtlety, earning considerable sympathy because his pain feels so genuine. The film's story—written by Jenny Lumet, Sidney Lumet’s daughter—feels familiar, but that isn’t necessarily a flaw. We don’t always need overly complex psychological explorations where characters speak as if they’ve all studied Freud for years; sometimes simple stories about human struggles are enough to carry a film. It might be somewhat predictable and have a fairly happy ending, but it remains believable enough to leave you feeling satisfied. However, I can't give this film much higher than a 6 or 7 out of 10, and that’s entirely due to the direction. The shaky, home-video style might work for something like *The Blair Witch Project*, but not for a slow-paced character drama. The pacing was just off; some scenes were completely unnecessary and could have been trimmed or removed without anyone noticing—and that would have helped considerably. It’s a shame because the story is decent, and the acting is superb, but this isn't a great film, and I don't see how it ever could be. Still, I do think it’s worth watching, especially for those who want to see Anne Hathaway in what could be considered a defining role. It’s quite disappointing coming from the director of *Philadelphia*.

Source on TMDB