Homosexual marriage was unlawful when Ang Lee launched 1993’s “The Wedding Banquet,” a New York-set romantic dramedy a few queer Taiwanese man, his white male accomplice and the feminine Chinese language immigrant he marries to placate his conservative mother and father. However Lee, clever to how the guts stutters, didn’t pander to audiences with bromides like love is love. That small, assured masterpiece (solely Lee’s second movie) insisted that love can be egocentric, hurtful, short-sighted and complicated, and that a lot of its wounds come from worrying about what outsiders assume.
Immediately, the cultural battle traces have been redrawn, so the director Andrew Ahn (“Spa Night,” “Fire Island”) has rebooted “The Wedding Banquet” with extra characters and better stakes. Teaming up with Lee’s longtime co-writer James Schamus, he’s concocted an out-there plot that’s all problems and little soul.
As a substitute of 1 couple, we now have two: boyfriends Chris (Bowen Yang) and Min (Han Gi-chan), and girlfriends Angela (Kelly Marie Tran) and Lee (Lily Gladstone). The foursome lives at Lee’s dwelling in Seattle, with the ladies in the primary home and the lads in a barn-like bunker within the yard. Over the course of the movie they’ll battle, kiss and crack jokes, and in the end stroll down the aisle with the incorrect individual.
Chris and Angela have been codependent friends since faculty. They attached briefly as youngsters, presumably as a part of freshman (dis)orientation, though their sexual fluidity is blurry. What’s clear is that they’re twin souls, two flip and emotionally risk-adverse forever-children afraid of adulting, because the dialogue’s millennial parlance may put it. Immediately, every one can legally marry their important others. They only don’t need to. The blame has shifted from society to non-public inertia.
Their respective companions, nevertheless, need to calm down. Min, a material arts scholar, already has an engagement ring in his pocket. The scion of a billionaire Korean style conglomerate, Min cashes checks from his grandmother, Ja-Younger (Youn Yuh-Jung), whereas dodging her request to take over as its inventive director. “You are not working for the company — you are the company,” she insists.
In the meantime, Lee is an earthy bohemian goddess who spends a lot of her display screen time gardening. (Gladstone’s flowery knitted outfits are a enjoyable distinction to Tran’s Metallica roadie duds — nice work throughout the board by costumer Matthew Simonelli.) An aid-worker for LGBTQ+ youth on a ticking-clock quest to bear kids of her personal, Lee has endured two wrenching rounds of in vitro fertilization and, simply as painfully, her accomplice’s ambivalence about having youngsters in any respect. Angela’s strained relationship along with her personal mom, Might (Joan Chen, diva-fabulous), a showy ally who’s nearer to her PFLAG buddies, has made her unrehearsed in maternal heat. Probably the most credibly-written character, Angela is terrified to play mother herself; it’s improv and not using a internet. (One nice comedian beat comes when Might consoles her daughter by cooing that Angela won’t be as terrible of a mother — she could possibly be worse.)
Min wants a inexperienced card. Lee wants money for a 3rd shot at IVF. Chris and Angela want extra runway for his or her inertia. So Min and Lee brainstorm an uncommon proposal: a accomplice swap that may remedy one set of issues whereas making a pile-up of others. For causes too eye-rolling to elucidate, Min and Angela should marry and decide to the ruse when Ja-Younger arrives to research whether or not her grandson’s fiancée is a gold-digger. The 4 leads are yanked not by their coronary heart strings however by the machinations of a plot that steers them from one contrived scene to a different, simply so it could actually level to the skid marks and name them a sketch of the brand new American household.
Bowen Yang, entrance, and Han Gi-chan within the film “The Wedding Banquet.”
(Luka Cyprian / Sundance Institute)
In 2025, not like 1993, Ahn and Schamus don’t take it as a right that foreigners like Min need to dwell in America in any respect. “Your trains are so slow!” he groans. Wealthy, charming and pop star-pretty (his skincare routine is a playful runner), Min solely desires to remain within the states for Chris, which is an excessive amount of strain to placed on Yang’s callow and underwritten function. Regardless of these limits, that is certainly one of Yang’s greatest components. Now that he’s established himself as bigger than life on “Saturday Night Live,” he has the arrogance to play a human being.
Han is aware of he should exaggerate Min’s daffy naivete to get us to purchase into his zeal to dwell in a small shack with noncommittal Chris. He and Chen give the movie’s least naturalistic and most pleasant performances. (“My own daughter, marrying a man!” Chen’s preening progressive wails despondently.) They’re the one actors who’ve internalized that that is screwball stuff, regardless of the lifelike cinematography that throws moist burlap on the nonsense.
The general tone seems like Ahn asking us to belief him to make this contemporary romance work. However he hardly consists of any of the genuinely true stuff like robust conversations about errors and forgiveness. There aren’t any bonding scenes between Min and Angela. These longterm pals immediately act like the opposite has cooties. Odder nonetheless, Ahn has a too-clever tic of slicing away from huge confrontations. It’s as if we’ve been invited into this dwelling solely to be ordered to butt out.
Lily Gladstone, left, and Kelly Marie Tran within the film “The Wedding Banquet.”
(Luka Cyprian / Bleecker Road)
When the drama is at its most compelling, the digital camera as a substitute chooses to deal with Youn’s grandmother staring on the kids from a window. The goings-on have an effect on her Ja-Younger least of all, however we’re caught watching her and no matter ideas she’s too reserved to precise. I get that Youn, who gained a supporting actress Oscar 5 years in the past for “Minari,” is a fortunate talisman. Nevertheless, the way in which the movie forces her into moments she doesn’t belong in makes her really feel like an albatross — particularly when it forgets that Gladstone’s Lee exists for an insultingly lengthy stretch and by no means provides that extra central character an opportunity to talk her peace.
There’s one thing concerning the homespun aesthetics, within the gravity of Gladstone and Youn’s expressions — trapped inside scenes the place the lifeless air is stuffed by the sound of birds — that make this good-hearted film appear embarrassed that it’s a comedy. When the gags arrive, they’re clumsy and determined: a discordant vomit explosion, some shenanigans at a courtroom home. The humor comes off like a wallflower at a celebration who’s racing with so many awkward ideas that when it’s lastly time to talk, they blurt out one thing impolite.
How unusual that everybody concerned right here loves the 1993 movie a lot that they’ve remade it — or in Schamus’s case, rewritten it — with out a lot of its cultural and character-driven wit. Ahn will get a pair giggles in his depiction of a hasty, half-baked Korean bridal ceremony with Chris promenading round with a picket duck and the unfortunate couple getting pelted with chestnuts and dates, symbology that nobody in attendance completely understands. It’s a neat approach to make the purpose that traditions have to be reexamined.
However I nonetheless choose a punchline Ang Lee delivered personally in his unique “The Wedding Banquet.” Enjoying a reception visitor surrounded by drunken hijinks, he quips, “You’re witnessing 5,000 years of sexual repression.” Come to think about it, this redo doesn’t also have a banquet. There’s simply leftovers.
‘The Marriage ceremony Banquet’
Rated: Rated R, for language and a few sexual materials/nudity
Operating time: 1 hour, 43 minutes
Enjoying: In huge launch Friday, April 18
