The concept of an April Fool’s Day prank derailing a wedding is a fine one and on the face of it, Batsh*t Bride is harmless, but I could have skipped it.
I didn’t really care about the barely developed characters, particularly the superfluous supporting ones. I barely raised a smile at the jokes about PMS (I have nothing against jokes about PMS – they just need to be good), and I cringed at the wooden dialogue and unnecessary exposition. An entire scene on a golf course is dedicated to recapping the events of the movie you’ve just watched. It’s actually a trick that Shakespeare used to do, knowing that his restless audience probably hadn’t paid attention to most of the play thus far. Perhaps the filmmakers feared the same.
I think for me the most jarring element of this movie was the tone, which jumps all over the place. It was at times utterly surreal, at times totally naturalistic, and I’m not quite sure what the movie is going for.
And yet, I bring you back to my statement that the movie is harmless. To its credit, Batsh*t Bride does actually pick up in the second half. I must admit that I wrongly guessed the direction the narrative was heading in and was pleasantly surprised when it took a turn. Looking back at my notes, I realize that they change past the halfway mark; my derision had turned to apathy and then – dare I say it – enjoyment. Having been given the ol’ switcheroo by the plot, I was actively invested in finding out what would happen.
The best part of this movie is easily the performance given by Meghan Falcone as the titular bride. I genuinely believed in her character’s progression and her comic timing lifts the quality of a lot of the jokes.
Batsh*t Bride could be good; if only the script had gone through a few more drafts, it could honestly have been the basis for a movie that I would recommend.