Til Death Do Us Part movie review(2023)
While bearing a resemblance to the sleek action flick “Ready or Not,” Timothy Woodward Jr.’s “Til Death Do Us Part” falls short of achieving the same level of competence. The screenplay, penned by Chad Law and Shane Dax Taylor, struggles to provide clarity, leaving viewers in the dark and disregarding any attempts at world-building or storytelling.
The movie opens with what appears to be stock footage depicting a wedding, where the Bride (Natalie Burn) emanates an air of unease. The scene then transitions to a sandy Puerto Rican beach, seemingly a honeymoon destination. Here, the Bride engages flirtatiously with her groom (Ser’Darius Blain) as they stroll along the shore. Later, an older couple (Jason Patric and Nicole Arlyn) pass judgment on their affectionate display, warning that their love will wane, similar to their own. The narrative subsequently shifts back to the couple’s wedding night, where the Bride’s cold feet lead her to seek refuge at a family cabin. Trouble brews when the groom’s group of dimwitted and chauvinistic friends arrive, triggering a violent altercation.
It’s revealed that the “university” mentioned by the Bride and Groom is not an academic institution, but an enigmatic syndicate of assassins, specializing in eliminating their own kind. This concept lacks the coherent rules of the “High Table” in the “John Wick” series, resulting in a confusing and inconsistent portrayal. The narrative’s opacity leads to confusion, overshadowing any potential engagement with the story. Furthermore, the action sequences suffer from lackluster choreography and shaky camera work that detract from the excitement.
The dialogue within the bachelor party scenes is distasteful, leaving the audience yearning for the Bride to swiftly dispatch them. The occasional filmmaker errors and poorly-delivered one-liners, like the cringeworthy “come and get me, you piece-of-shit,” undermine the film’s credibility. Questionable narrative decisions further contribute to the movie’s absurdity. A significant backstory detail is clumsily unveiled, juxtaposed with alternating scenes of the bloody wedding day and the idyllic beach honeymoon. This execution borders on parody.
While attempting to channel a strong Bride reminiscent of Uma Thurman in “Kill Bill,” Natalie Burn’s portrayal is hampered by a perpetually scowling demeanor, failing to fully embody the character’s depth. The chief antagonist, the Best Man (Cam Gigandet), proves more irksome than menacing, especially when leading a group of underdeveloped characters with monikers like T-Bone and Big Sexy. Ser’Darius Blain, as the Groom, manages to deliver the most compelling performance, deftly navigating between the roles of controlling partner, confidant co-conspirator, and charismatic date.
Regrettably, the film’s assorted elements fail to coalesce effectively—be it the narrative, filmmaking techniques, or acting prowess. Instead, it inundates the viewer with tedium, with each lackluster punch and exchange serving as a grim reminder of its wearisome nature. It’s a taxing experience that left me wanting to sever ties long before the closing credits.
Currently screening in theaters.
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