Tavolo 19

Sure the plot and script might have been a tad predictable, but, it was an unexpected charmer. A wonderful cast and fun script with many chuckles. It is NOT Separate Tables but it certainly was worthwhile viewing a nice little light comedy that is perfect on a summers night. Table 19 contained the misfits of a wedding but eventually had the most fun and impact on their wedding they were the last to be invited at.

the film with that cast - Anna Kendrick, Lisa Kudrow, Craig Robinson, Toni Revolori being some of my favorites - could really have been fun and truly enjoyable. But a good cast doesn't make a good script. I wonder how tailored each role is for the cast, I'm guessing apart from Anna's role not so much? Not sold on the bulk of the film / the main pairing much so that was particularly not enjoyable for me. However, June Squibb was lovely and Stephen Merchant was a welcome oddball (though the humor overall of the film doesn't really land). Conclusions for other story lines were not really satisfying and there was cheesiness all through out.

Trailers are notorious in over-promising for movies that under-deliver. But every now and then, one pops up that does the opposite. The trailer for Table 19 (2017) gives the impression of a lightweight romantic comedy with a touch of slapstick, all framed around a wedding. Despite being critically panned by many, there is more to this unexpectedly entertaining low-profile film than meets the eye.

The heroine is Eloise (Anna Kendrick) who, against her better judgement, accepts a wedding invitation knowing she is persona non-grata with the bridal party. She was recently dumped by the bride's brother, who is now the best man, and she is suddenly no longer the bride's best friend. She was the chief helper with the reception planning and knows who is at every table and why they are here. Her companions on Table 19 comprise a lovable granny-type, two oddballs, and a quarrelling married couple. They were all expected to decline their invitation but still send a gift, and that alone is a recipe for humour and satire. Their distance from the bridal table and proximity to the toilets quickly establishes their lowly social status and the comic sketches play on social awkwardness. The thread of continuity is through Eloise and her manhunts. The standard sit-com one-liners and the obligatory near-catastrophe with a wedding cake are neither original nor particularly funny, but the situation develops a warm emotional undercurrent that is unexpectedly touching.

One of the interesting things about this film is the difference between its plot and story. The plot is standard wedding reception comedy which laughs at the marginalisation of unwanted guests. On the other hand, the story explores why the Table 19'ers are together. It offers insight into their lives, their personalities, and the emotional hurt caused by being placed on the social fringe. The best part of the film is when the offended "randoms" leave the reception for a while to console each other. Through flashbacks we get the back-story to their invitations which range from pathetic to comic. For example, the granny-type really believed she was invited because the bride fondly remembered her first baby-sitter, but the bride barely knows who she is. There is also a wannabe trying to lose his virginity, a weird guy straight out of prison, and a couple who are far from an inspiring example of a loving marriage.

Anna Kendrick plays the perfect balance between awkward, aggrieved, and aggressive, and the randoms are standard comic stereotypes. But while our eyes are on Elosie, the warmth of the story come from her table companions. The gags are at snicker level rather than belly laughs and the cinematography is colourful and cluttered as wedding receptions often are. There is no shortage of embarrassing moments as Eloise stalks her men, both old and new, and the final scenes rise through melodrama to operatic farce. But this film offers a fresh take on standard rom-com themes in amusing and entertaining ways…. and it might make you think twice if you need to create a seating plan.

and somewhat intelligent romcon. I don't know why it didn't get any love from critics, especially with the young and veteran talents of Anna Kendrick and Lisa Kudrow . Solid seven. . . .For peeps who want a dramedy as opposed to a laugh riot. "Wedding Crashers," it ain't.

Word of caution: It's a little rocky through the first twenty minutes, but the last three quarters of the film make that set up well worthwhile. Since it's an ensemble piece, there's some scenes well spent sketching all the characters seated in the no-man's land of table 19. But this investment will pay off sweetly in the end.

I've been reviewing films off and on for about five years. And if there is one thing I've learned about criticism is that the vast, unchallenged mean between absolutely great movies and downright terrible ones hides a lot of non-committal fence sitting. I'm guilty of it myself; in today's age of instant self-gratification, it's easy to cobble together a knee-jerk opinion based on someone else's ideas. Problem is those ideas, whether valid or not, sometimes creates a subterfuge of undeserved hype or undeserved vitriol depending on the circumstance. They feed a cycle of wafer-thin subjectivity masquerading as authoritative proof of something's worth. This is why, for example a movie like Equilibrium (2002) can be seen as something more than a splashy Matrix (1999) rip-off while movies like Mystery Team (2009) are swept under the rug.

So it is with Table 19, a movie no one will likely see because the critical consensus is so bad that it's created its own negative feedback loop. Table 19 takes place over the course of several hours of a wedding reception at a rustic hotel lodge. As the happy couple celebrates their new marriage amid friends and family, a small group of strangers sit at the back table, forcing uncomfortable banter and gracelessly ignoring the reason for their position in the back. Among them are the argumentative Kepps (Kudlow and Robinson), the dotty Ms. Jo (Squibb), gawky teen Renzo (Revolori), distant cousin Walter (Merchant) and Eloise (Kendrick) the disgraced ex-Maid of Honor who was dumped by the Best Man (Russell).

To say Table 19 is "ridiculous and a mess," is a bit of an understatement. As critics rightly point out, the pacing is stop and go, the editing is slapdash and the high-concept simply doesn't have the wherewithal to make it through a feature-length movie. Once the initial awkward niceties are flushed under the force of the first big narrative reveal, the film descends into a checklist of soapy plot-points and lazy character short hands. Much like 8 Heads in a Duffel Bag (a similarly imperfect ensemble farce), Table 19 klutzily mixes its farcical elements with broad, sweeping story setups and has them slosh about until the runtime wears out. On top of it all, the tone shifts wildly depending on who you're following at the time.

Thing is, I actually liked 8 Heads in a Duffel Bag, and I liked Table 19 too for much the same reason. The characters, as broad as they may be at times never ceased to entertain; Stephen Merchant's portrayal as a familial pariah Franken-walking through the banquet hall is worth the admission price alone. As are Renzo's far too honest conversations with his mother (Martindale in a superb unseen role) which mostly consist of him rolling his eyes while she pushes him to "get laid already." Behind the Kepps' increasingly hostile quibbling and Grandma Jo's insistence that she'll be remembered (just you wait), lays a unified feeling of melancholy.

That feeling of melancholy along with some solid comedic setups and payoffs permeate through the film's cosmetic faults. Every time you're distracted by an awkward cut or taken aback by some of the more hammy moments, the film quickly lulls you back with its quixotic charm.

Helping to dry up this mess and put it back into a nice looking bucket is the relentless Anna Kendrick who by now has turned the neurotic jilted girl archetype into a symbol of quasi-empowerment. While she wins no brownie points for that here, there's something near noble about the way she throws herself into the fray. She easily elevates an already stellar cast and sells the hell out of the movies main conceit.

Much like the twangy banjo version of Pachabel's Canon in D that plays over the film's title sequence, Table 19 is a unique version of a very old cultural tradition. It's certainly not the best version of what it could be but with more than a handful of charming performances, this delightful little farce deserves a little better than the wedding inspired japes it's been getting from critics. Perhaps it's a case of ugly duckling syndrome on my part, but I'm going to go ahead and say "I Do" to this one.