Toula is 30. And unmarried. Which means as a nice Greek girl -- she's a failure. All her cousins did the right thing -- married Greek boys and made Greek babies. So everyone worries: what will become of Toula? Then one day she sees the ultimate unattainable guy and realizes the only way her life will get better is if he gets away from her big, fat Greek family. Toula escapes from the family restaurant. She exchanges her seating hostess jacket for a college diploma, convinces her aunt to give her a new job, and trades in her coke-bottle glasses for contact lenses, just in time for "him" to walk back into her life. Ian Miller is tall, handsome but defnitely not Greek. Their courtship is an Olympian culture clash. Can Ian handle Toula, her parents, her aunts, uncles, cousins and several centuries of Greek heritage? Will Toula discover the love she's been missing right in the heart of her big, fat family? One thing is for sure, for better or worse, for richer or poorer, with Ian's proposal Toula is headed for her big, fat Greek wedding.

With Vince Vaughn and Owen Wilson as a pair of brazen wedding crashers, this buddy/romantic comedy milks a few big laughs from its foolproof premise. Under the direction of David Dobkin (who previously worked with Wilson on Shanghai Knights), the movie ranges from bawdy romp to mushy romance, and that tonal identity crisis curtails the overall hilarity. But when the well-teamed costars are firing on all pistons with fast-paced dialogue and manic situations, belly laughs are delivered at a steady clip. Things get complicated when the guys infiltrate the family of the Treasury Secretary (Christopher Walken), resulting in a romantic pair-off between Vaughn and the congressman's oversexed daughter Gloria (Isla Fisher) while Wilson sincerely woos another daughter, Claire (Rachel McAdams), who's unhappily engaged to an Ivy League cheater (Bradley Cooper). Walken is more or less wasted in his role, but Jane Seymour and Henry Gibson make amusing appearances, and a surprise guest arrives late in the game for some over-the-top scene-stealing. It's all a bit uneven, but McAdams (considered by some to be "the next Julia Roberts") is a pure delight, and with enough laughs to make it easily recommended, Wedding Crashers will likely find its place on DVD shelves alongside other flawed but enjoyable R-rated comedies that embrace a naughtier, nastier brand of humor with no need for apologies. --Jeff Shannon

You're better off having been born after, say, 1965, if you really want to enjoy this corny romantic comedy and its abundant references to the MTV culture of the mid-1980s--and even then the odds are only 50-50 that you'll have a shamelessly good time. But a lot of people beat those odds, because The Wedding Singer was a surprise box-office hit when released in early 1998, and it resulted in Saturday Night Live graduate Adam Sandler's salary going ridiculously sky-high. It's a schizophrenic film about a seemingly schizophrenic wedding singer (Sandler) who's charmingly sweet to some people but a tongue-lashing maniac to others, probably out of frustration over his fading ambition as a wannabe rock star (not to mention Sandler's penchant for loud-mouthed lunacy). When he meets an admiring young waitress (delightfully played by Drew Barrymore), it's love at first sight, complicated by their pending marriages to much less appealing fiancés. The plot then contorts itself to accommodate this contrived will-they-or-won't-they? scenario, so you're better off ignoring the love story and focusing on the comedy, which is sporadic but occasionally hilarious. This is also a lighter, friendlier Sandler than moviegoers had seen before, which probably accounts for the movie's success. Toss in a fine supporting cast--including a show-stopping drunk act by indie-movie stalwart Steve Buscemi--and you've got the ingredients for a no-brainer that's ultimately more fun than it is annoying. --Jeff Shannon

A surprise hit and one of the highest grossing films ever to come out of Great Britain, this effortlessly enchanting romantic comedy finds confirmed bachelor Hugh Grant (Nine Months) attending weddings with his single friends as they all lament not being able to commit. Grant keeps running into an attractive American (Andie MacDowell) at these festivities and begins a long-running affair with her, even as he attends her own wedding, the funeral of one of his best friends, and his own pending nuptials. Featuring a spirited supporting cast including Kristin Scott Thomas (The English Patient) as the acerbic friend quietly in love with Grant, this touching and funny film with a mischievous sense of humor and some truly heartbreaking moments is destined to become one of the classic romantic comedies of all time. --Robert Lane

One of the best romantic comedies of the 1990s, My Best Friend's Wedding not only gave Julia Roberts a delightful vehicle for her crowd-pleasing comeback, but it further distinguished itself by avoiding the conventional plotting of the genre. Julia plays a prominent Chicago restaurant critic whose best friend (Dermot Mulroney) is a former lover from her college days with whom she'd made a binding pact: if neither of them were married by the age of 28, they'd marry each other. Just when they're about to reach the deadline of their agreement, Mulroney arrives in Chicago to introduce Roberts to his seemingly perfect fiancée (Cameron Diaz) and announce their wedding in just three days. That leaves the shocked Julia with just three short days to sabotage the wedding and marry the man she now realizes she's loved all along. With potential heartbreak waiting in the wings, she'll either get what she wants or pay the price for her selfish behavior, and Ronald Bass's cleverly constructed screenplay keeps us guessing to the very end. Rupert Everett scored rave reviews for his scene-stealing performance as Robert's gay friend who goes along with her scheming (but only so far), and even as she makes her character's needy desperation disarmingly appealing, Roberts wisely allows Diaz to capitalize on her charming time in the spotlight. As the romantic outcome remains uncertain, the viewer is held in a state of giddy suspense, and director P.J. Hogan pulls off some hilarious scenes (like a restaurant full of people singing the Dionne Warwick hit "I Say a Little Prayer") that could easily have fallen flat in the hands of a less talented filmmaker. It's no surprise that this was one of the box-office smashes of 1997. --Jeff Shannon

Screenwriter William Goldman's novel The Princess Bride earned its own loyal audience on the strength of its narrative voice and its gently satirical, hyperbolic spin on swashbuckled adventure that seemed almost purely literary. For all its derring-do and vivid over-the-top characters, the book's joy was dictated as much by the deadpan tone of its narrator and a winking acknowledgement of the clichés being sent up. Miraculously, director Rob Reiner and Goldman himself managed to visualize this romantic fable while keeping that external voice largely intact: using a storytelling framework, avuncular Grandpa (Peter Falk) gradually seduces his skeptical grandson (Fred Savage) into the absurd, irresistible melodrama of the title story. And what a story: a lowly stable boy, Westley (Cary Elwes), pledges his love to the beautiful Buttercup (Robin Wright), only to be abducted and reportedly killed by pirates while Buttercup is betrothed to the evil Prince Humperdinck. Even as Buttercup herself is kidnapped by a giant, a scheming criminal mastermind, and a master Spanish swordsman, a mysterious masked pirate (could it be Westley?) follows in pursuit. As they sail toward the Cliffs of Insanity... The wild and woolly arcs of the story, the sudden twists of fate, and, above all, the cartoon-scaled characters all work because of Goldman's very funny script, Reiner's confident direction, and a terrific cast. Elwes and Wright, both sporting their best English accents, juggle romantic fervor and physical slapstick effortlessly, while supporting roles boast Mandy Patinkin (the swordsman Inigo Montoya), Wallace Shawn (the incredulous schemer Vizzini), and Christopher Guest (evil Count Rugen) with brief but funny cameos from Billy Crystal, Carol Kane, and Peter Cook. --Sam Sutherland

This '90s update of the Spencer Tracy-Elizabeth Taylor hit is a mix of the pleasant and the silly, a nice enough movie but a little too controlled to become particularly interesting. Steve Martin plays the aging patriarch who is threatened by his daughter's engagement and not-quite-willing to let her go. The writing-directing team of Charles Shyer and Nancy Meyers provides Martin's character with a perhaps too-broad range of comic responsiveness to the situation, some of it gentle (a ritual game of basketball between dad and his little girl) and some of it slapstick (Martin sneaking around his prospective in-laws' house and encountering a guard dog). Martin Short turns up as a wedding coordinator--which has deliriously delicious possibilities--but his inventiveness doesn't quite strike the chord this time. --Tom Keogh

Who else but Tim Burton could make Corpse Bride, a necrophiliac's delight that's fun for the whole family? Returning to the richly imaginative realm of stop-motion animation (after previous successes with The Nightmare Before Christmas and James and the Giant Peach), Burton, with codirector Mike Johnson, invites us to visit the dour, ashen, and drearily Victorian mansions of the living, where young Victor Van Dort (voiced by Johnny Depp) is bequeathed to wed the lovely Victoria (Emily Watson). But the wedding rehearsal goes sour and, in the kind of Goth-eerie forest that only exists in Burton-land, Victor suddenly finds himself accidentally married to the Corpse Bride (Helena Bonham Carter), a blue-tinted, half-skeletal beauty (how pleasantly full-bosomed she remains!) with a loquacious maggot installed behind one prone-to-popping eyeball. This being a Burton creation, the underworld of the dead is a lively and colorful place indeed, and Danny Elfman's songs and score make it even livelier, presenting Victor with quite a dilemma: Should he return above-ground to Victoria, or remain devoted to his corpse bride? At a brisk 76 minutes, Burton's graveyard whimsy (loosely based on a 19th century Russian folktale) never wears out its welcome, and the voice casting (which includes Tracey Ullman and Albert Finney) is superbly matched the film's gloriously amusing character design, guaranteed to yield a wealth of gruesome toys and action figures for many Halloweens to come. --Jeff Shannon

Mike Myers's first feature role without his Wayne's World wig is a performance at odds with the best interests of the movie. Myers plays a single guy who always manages to find something seriously wrong with each of his girlfriends. His new love (Nancy Travis), a butcher, may be the perfect woman, except for one thing: she might be a "black-widow" killer who prefers dispatching husbands with a sharp instrument. Robbie Fox's original script has a fine shape and strong, black-comedy material within it. But Myers creates unnecessary dissonance by playing a variety of characters (including an irascible Scotsman like the one he often played on Saturday Night Live) and accenting his skills as an improvisational comic (such as impersonating the soothing cadences of a massage therapist). It's not that Myers isn't funny doing all that, but it has nothing to do with the movie. Directed by Thomas Schlamme (Miss Firecracker). --Tom Keogh

A glossy romantic comedy, The Best Man centers on four college friends and the women in their lives, all brought back together for a wedding. Taye Diggs (How Stella Got Her Groove Back) plays the title character, a young writer whose first novel is a barely fictionalized account of his college days, featuring barely fictionalized versions of all his friends. This novel hasn't yet been released, but ambitious TV producer Nia Long (Soul Food) has snagged an advance copy in the hopes of getting an early interview with Diggs. Unfortunately, when this advance copy begins circulating among the college gang, they discover it reveals some secrets that may have a disastrous effect on the wedding. The Best Man features a handsome, charming cast and a propulsive story, but the female characters are poorly developed and the male banter is, to say the least, chauvinistic. This banter is mostly to comic effect, but by the end it still leaves a sour taste that the movie's happy ending doesn't counter. With a particularly strong performance by Terrence Howard as an aimless but relentlessly honest member of the college quartet. --Bret Fetzer

The good news is, yes, Jennifer Lopez can do comedy. In The Wedding Planner Lopez is Mary, a lovable woman who believes "those who can't do, teach. Those who can't wed, plan!" Her slapstick moments are lighthearted and she is spot-on as the controlling, compulsive-yet-sweet planner. The bad news is Lopez didn't get much of a vehicle in which to test drive her newfound comedic skills.
Mary's life is her career. Planning other people's weddings takes all of her time, leaving no room for a love life of her own. Her only personal life is a Scrabble club, to which she and her father (Alex Rocco, whose wandering Italian accent is painful to listen to) belong. When a handsome young doctor (Matthew McConaughey) saves her from a collision with a runaway dumpster (really, it works), she is instantly wooed by his quiet charm. Too bad he's the fiancé of Mary's biggest client, Fran (played winningly by Bridgette Wilson-Sampras), the job that will launch Mary as a partner in her firm.

The main problem with this film is that no one wants to hurt anyone else's feelings. Everyone is just so gosh-darn nice. In a subplot, Mary's father is trying to arrange her marriage to just the nicest Italian boy. Gee, he's sweet. Golly, Fran is nice. Is there ever a way out of this mess and to leave everyone smiling? Yet, there is a touch of old-fashioned romance to this wholesome film, which can only be described as "cute." And while things may unfold in a predictable manner, The Wedding Planner is still lighthearted fun of the sort that inspires dreamy romantic thoughts. --Jenny Brown