“Table 19” is a nice enough wedding rom-com that feels like what “The Breakfast Club” would’ve been if it had been set at a wedding banquet—and if the misfit teens were replaced with a grown-up bunch of misfits. The group ranges from a bickering married couple (played by Lisa Kudrow and Craig Robinson), the disowned nephew who gives off serial killer vibes (Stephen Merchant), the girl who can’t stop feeling sorry for herself and for how her miserable life turned out (Anna Kendrick), the done and dusted Nanny of the groom (June Squibb), and that one high school kid who just shows up at the wedding in order to, ahem, ‘get some’ (played by Tony Revolori).
The story follows the group of aforementioned people who find themselves at a table that’s quite close to the toilets (table 19, hence the title) at a wedding. As the wedding progresses and they’re left to fend for themselves, ignored by all except for that one annoying wedding photographer, they learn to get along with each other, understand each other better, and embrace each other’s company—no matter how awkward their situation might be, at the same time try to sort out each other’s issues (or make them worse) before the last dance.
I like that “Table 19” doesn’t resort to the sappy rom-com route like so many other wedding movies that came before , and remains unpredictable and only slightly clichéd. There’s loads of foreshadowing, and I love it when the backstories of each character starts unraveling. At times, it does try to be too clever for its own good and trips up; and thus, we end up with unnecessary characters like that wedding crasher bloke who will remain a mystery to me. The film also could’ve done without some subplots which lead nowhere… Like the scene with the wedding crasher bloke who will remain a mystery to me (sorry, I keep circling back to that).
The jokes fall between being clever and funny (with seasoned comedian Stephen Merchant and his young co-star Tony Revolori stealing most of the scenes with their chuckle-worthy one liners) to done to death and lazy (I’m talking about the pratfalls. I’m perfectly fine with the odd clumsy character, till they start falling over like dominoes every two seconds just for a cheap laugh and borders on forced comic relief). I did enjoy the running gag of Lisa Kudrow’s character’s red jacket unintentionally matching with the waiter’s uniform, and loved how the filmmakers milked that gag for the rest of the movie.
Anna Kendrick in a scene from “Table 19” (3311 Productions, 2017).
The ‘redeemer’ sequences for each character are likable as well. The movie is also filled with wedding guests from every walk of life whom you’d definitely bump into at almost every wedding in real life: from the cloying relative who cries for attention, to the drunk relative who cries for attention—so yes, it does feel more real and familiar than most other wedding movies.
I love the cast, especially the folks at table 19, and they give their best effortless performances. If I had to choose two of my favourite performances and characters, it would be Anna Kendrick’s Eloise and Stephen Merchant’s Walter. They are the hands-down winners in my book, as their characters are well-written and well-acted, with enough flaws for viewers to hate on them as well as to cheer on for them.
The chemistry between the folks at table 19 is far better in the second half than the first, and grows leaps and bounds as the movie progresses. However, the chemistry between Lisa Kudrow and Craig Robinson as the Kepps comes off as clunky, bittersweet, and not that believable at times. The camera work is surprisingly good, but the music could’ve been a bit more memorable, considering the soundtrack had quite a few bops like my all time favourite number “I Melt with You” (the ensemble dance number at the end to which it’s set is unforgettable).
In all, “Table 19” is worth a watch if what you’re looking for is a cross between a character study of sorts and a wedding comedy of errors that could’ve easily turned into a murder mystery as well. Everyone at table 19 acts like sleuths, especially Craig Robinson’s character (I’m exempting Stephen Merchant, who is definitely a usual suspect with motive though; those serial killer expressions are a dead giveaway). I actually would’ve loved the film more if it had taken that murder mystery route, which feels like a wasted opportunity now, but it’s lovable nonetheless.
