A Bit Too Buttoned-up for Its Own Good

Read Time:5 Minute, 12 Second

MOVIE REVIEW
My Mother's Wedding
–

Genre: Drama, Comedy, Family
Year Released: 2025
Runtime: 1h 35m
Director(s): Kristin Scott Thomas
Writer(s): Kristin Scott Thomas, John Micklethwait
Cast: Scarlett Johansson, Sienna Miller, Emily Beecham, Kristin Scott Thomas, Freida Pinto
Where to Watch: in theaters August 8, 2025

RAVING REVIEW: At a glance, MY MOTHER’S WEDDING seems like a guaranteed success. With Kristin Scott Thomas behind the camera and a powerhouse trio of Scarlett Johansson, Sienna Miller, and Emily Beecham in the lead roles, expectations run high for a rich, emotionally layered family drama. But while the film occasionally brushes up against those ambitions, it never fully tackles them. This is a film that often gestures toward depth without quite getting there—warm on the surface, yet oddly hollow in the aftermath.

The story centers around a wedding—this time for Diana, the twice-widowed mother played by Scott Thomas herself. Her three daughters reunite under one roof for the event, each carrying unresolved emotions, personal frustrations, and the unspoken weight of grief. The setup is ripe for dysfunction, reconciliation, and maybe even some humor along the way. What we get instead is a restrained, largely internalized drama that feels more like a thoughtful table read than a compelling cinematic experience.

There’s a clear intention behind the film’s quieter moments. You can feel Scott Thomas aiming for a tone that favors realism over melodrama, reflection over conflict. But those choices result in a film that struggles to sustain tension or momentum. Scenes often feel like they’re on the verge of something meaningful, only to fade out before delivering a satisfying punch. What could’ve been a nuanced study of sibling dynamics and grief becomes more of a gentle shuffle through familiar terrain.

That’s not to say there aren’t things to admire. The performances are strong. Johansson is especially convincing as Katherine, the daughter with a military past and a carefully guarded emotional wall. Miller plays to her strengths as the outgoing, impulsive sister Victoria, and Beecham offers a quieter but deeply empathetic presence as Georgina. Together, they capture the swings and rivalries of long-strained sisterhood. Their chemistry helps elevate scenes that might otherwise feel perfunctory.

Scott Thomas, as Diana, brings her usual elegance, though the script offers her limited range. Her character seems designed to provoke reflection in others rather than stand on her own, which undercuts some of the potential. Freida Pinto, meanwhile, is underutilized in a role that feels more decorative than essential.

Visually, the film is charming in its simplicity. Shot in the English countryside, the setting provides a peaceful backdrop—lush gardens, cozy interiors, and that gentle, overcast light that British dramas love so much. It’s beautiful, but perhaps plays it too safe. The cinematography doesn’t challenge or surprise; it complements the story’s tone but also contributes to its lack of urgency.

One of the film’s bigger issues is structure—the narrative moves from conversation to conversation with little escalation. Subplots are introduced and quickly resolved or forgotten. Emotional payoffs often happen off-screen or are conveyed through subdued monologues rather than visual storytelling. It’s the kind of film that tries to evoke profundity through quietness, but ultimately underplays its material.

That said, there are a handful of effective moments. A late-night conversation between the sisters hits a vulnerable, honest note. A confrontation over past relationships briefly brings out the fire that’s been missing from the rest of the story. The inclusion of wedding guests with their own eccentricities adds a bit of levity, though those characters feel like missed opportunities—sketched more than fully realized.

If anything, MY MOTHER’S WEDDING might have benefited from either going bigger or smaller. As a slow-burning character study, it lacks the depth and structure necessary to explore its themes fully. But as a lighthearted ensemble dramedy, it doesn’t lean far enough into its comedic potential. It sits in the middle—a well-acted, well-meaning film that plays everything just a little too safe. The ultimate 2.5-star film for me; I didn’t hate it, but I didn’t love it. The film falls right into the middle ground of being something I’ve experienced, but likely won’t think about again anytime soon.

For a directorial debut, it’s understandable that Scott Thomas might aim for restraint. The film also showcases her ability to guide tone, curate performances, and shape moments. But the script holds everything at a distance, and what could’ve been a revealing family portrait ends up more like a formal snapshot. Pretty, composed, and emotionally underexposed. In the end, MY MOTHER’S WEDDING is less a celebration than a quiet gathering. You may admire the people in the room, but you’ll likely walk away wondering why the party didn’t last—or matter—more.

#MyMothersWedding

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