The delightful Kristen Wiig, who's gleamed in portions of supporting roles and on Saturday Night Live, hits a bull's-eye with her first advance part in Bridesmaids. Annie (Wiig) isn't doing so well; her bread kitchen came up short and she continues dozing with a gorgeous mite (Jon Hamm, Mad Men), but she's consistently had her best equipped partner Lillian (Maya Rudolph, Away We Go) to float her up… until Lillian inches toward getting engaged. Annie ends up house keeper of respect, but a different partner of Lillian's--the rich and perfect Helen (Rose Byrne, Get Him to the Greek)--would like to take over that position. Misfortunes with regretful Brazilian sustenance, dress fittings, a sad flight to Vegas, and a sympathetic movement cop (Chris O'Dowd from British TV comic drama The IT Crowd) accompany, with progressively amusing outcomes. Bridesmaids successfully equalizes uncouth drama and element representation. The humiliating and socially calamitous stuff, which in too a large number of films inflatables into ludicrousness, is here held under control unequivocally enough to permit Annie and the different elements to be multidimensional individuals--without the film losing its funny limit for flinch. (Performer Melissa McCarthy, of Mike & Molly, works wonders with an element than in most hands could be immaculate cartoon.) Wiig's colossal advance keeps Annie sympathetic, even as she comes to be an increasing amount of an entourage wreck. Bridesmaids is both sharp and numbskull, graceless and sincere, and out and out agreeable. --Bret Fetzer
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