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ON FAITH & MEDIA View Comments

Bridesmaids

By
John Mulderig
Source: Catholic News Service

Those who watched the seemingly flawless nuptials uniting Britain's newly minted Duke and Duchess of Cambridge will find a very different wedding experience awaiting them with the arrival on the big screen of the ill-tempered comedy "Bridesmaids" (Universal).

As written by Annie Mumolo and Kristen Wiig, director Paul Feig's stumble toward the altar starts with a graphic, commitment-free bedroom scene and proceeds to lift the veil -- to supposedly humorous effect -- on other uninviting matters such as the symptoms of food poisoning.

Wiig stars as Annie, a failed bakery owner who finds the downward spiral of her fortunes accelerating after her lifelong best friend Lillian (Maya Rudolph) becomes engaged and asks her to serve as maid of honor.

What follows is a frantic rivalry pitting Annie against Helen (Rose Byrne) -- another of the attendants and a newfound pal of Lillian's who, Annie fears, may displace her in the bride-to-be's affections -- as well a series of disastrous misadventures for the titular ensemble as a whole (which also includes Melissa McCarthy, Ellie Kemper and Wendi McLendon-Covey).

Since most of these calamities are directly attributable to Annie's misguided efforts to best rich, glamorous and fanatically organized Helen, Lillian -- not surprisingly -- begins to lose patience with her old buddy. So, too, will many viewers.

One glimmer of hope in Annie's life is her budding romance with Irish-born local policeman Rhodes (Chris O'Dowd). But their potentially winning relationship -- Rhodes, for instance, thoughtfully encourages Annie to start baking again -- turns prematurely physical after only a few social encounters.

This is in keeping with the long-standing, utterly loveless affair linking Annie with wealthy, frivolous Ted (Jon Hamm). As revealed in that opening scene, which also features some obscene dialogue, their bond is strictly zoological.

Although Annie's willingness to play along with this base arrangement is presented as a symptom of her lack of self-respect, that doesn't prevent the screenwriters from trying to make comic hay out of it.

On the whole, then, this is one wedding that deserves a bad reception.

The film contains explicit nonmarital sexual activity, much sexual and scatological humor, a same-gender kiss, at least a half-dozen uses of profanity and pervasive rough and crude language. The Catholic News Service classification is O -- morally offensive. The Motion Picture Association of America is R -- restricted. Under 17 requires accompanying parent or adult guardian.

*****
John Mulderig is on the staff of Catholic News Service.



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<p>Sophie herself received an extensive education, thanks to her brother, Louis, 11 years older and her godfather at Baptism. Himself a seminarian, he decided that his younger sister would likewise learn Latin, Greek, history, physics and mathematics—always without interruption and with a minimum of companionship. By age 15, she had received a thorough exposure to the Bible, the teachings of the Fathers of the Church and theology. Despite the oppressive regime Louis imposed, young Sophie thrived and developed a genuine love of learning. </p><p>Meanwhile, this was the time of the French Revolution and of the suppression of Christian schools. The education of the young, particularly young girls, was in a troubled state. At the same time, Sophie, who had concluded that she was called to the religious life, was persuaded to begin her life as a nun and as a teacher. She founded the Society of the Sacred Heart, which would focus on schools for the poor as well as boarding schools for young women of means; today, co-ed Sacred Heart schools can be found as well as schools exclusively for boys. </p><p>In 1826, her Society of the Sacred Heart received formal papal approval. By then she had served as superior at a number of convents. In 1865, she was stricken with paralysis; she died that year on the feast of the Ascension. </p><p>Madeleine Sophie Barat was canonized in 1925.</p> American Catholic Blog When you go to Jesus, you’re not going to a God who only knows heaven; instead, you’re placing your hurting heart into pierced hands that understand both the pain of suffering and the glory of redemption.

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