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Wedding Crashers Reviews

This rude comedy in the ANIMAL HOUSE (1978) vein delivers 90 minutes of riotously funny raunch; unfortunately, its running time is closer to two hours. And while Steve Faber and Bob Fisher's script is unusually witty, what could have been a classic goofball, belated-coming-of-age tale takes a weird turn into chick-flick drama realm that's out of sync with the frat-boy laughs. Best friends and business partners John Beckwith (Owen Wilson) and Jeremy Grey (Vince Vaughn) specialize in mediating divorces and live for wedding season, when they crash any and all receptions to pick up unsuspecting bridesmaids for a night of fun. They play strictly by the rules passed down from the near-mythical Chazz, who cracked the code of being the life of the party and drawing attention to oneself without arousing suspicion. John realizes they're getting a little old for these high jinks but Jeremy wants to go out at the top of their game, after conquering the Kentucky Derby of successful wedding crashing: the nuptials of Treasury Secretary William Cleary's (Christopher Walken) eldest daughter. They scam their way past the Secret Service by posing as sibling venture capitalists. Jeremy targets red-headed Gloria (Isla Fisher) and John is smitten with the proper Claire (Rachel McAdams), but there are complications: Both are the bride's sisters, Claire has an egotistical boyfriend named Sack (Bradley Cooper) and the pushy Gloria insists she's in love with Jeremy after their tumble in the sand. She invites the "brothers" to the Cleary estate for a weekend after-party, where John tries to get closer to Claire while avoiding her randy mother (Jane Seymour), and Jeremy is tortured by the overeager Gloria, her "artistic" brother (Keir O'Donnell), who has a crush on him, and football-playing bully Sack. The film's flaws can't be laid at the actors' feet: Vaughn is at his best, McAdams is perfectly adorable, relative newcomer Fisher steals scenes from her cast mates with wicked ease; and Walken is, well, Walken. Wilson struggles a little with his dramatic scenes, but his offbeat sense of humor more than compensates. The blame belongs squarely on the shoulders of director David Dobkin, who needed to pare away some of the film's excess baggage and let the lean, mean gag machine shine.