Review: MARRY ME (2022)
Whether it’s a romance drama or romcom or anything else where the love between characters is a central aspect of the plot—arguably the most important part of a romance film is the chemistry between those involved. Everything else around that can be forgiven or forgotten if the audience feels like these actors truly feel something for each other and then viewers are wrapped up in that emotional rollercoaster as well. This is what makes those movies with real-life couples especially baffling when there is zero spark between the pair (Taylor & Burton, Cruise & Kidman).
MARRY ME has a ridiculous premise, but that could be overlooked depending on how its protagonists, Jennifer Lopez and Owen Wilson, work together on screen. And the good news is they have a lot of strong chemistry between each other that seems sincere. The bad news is that it doesn’t give off a romantic vibe, but instead like two good friends (who may end up getting together, but mostly just check in on each other’s worlds). That, along with some odd structure and character decisions, hinders director Kat Coiro’s film from being a true romcom classic. Instead it’s a pleasant enough diversion with fun moments, nice musical performances, and far too much Jimmy Fallon.
To be fair to the noxious talk show host, and to put my biases out front—any Jimmy Fallon is far too much Jimmy Fallon for me.
Multi-hyphenate Kat (Lopez) is in the biggest celebrity couple with musician Bastian (Maluma). The duo release a hit single together (“Marry Me”) as a precursor to their lavish televised wedding in front of a packed stadium, when suddenly things go awry (as they are wont to do in these situations). Meanwhile high-school math teacher Charlie (Owen Wilson) tries to impress his daughter Lou (Chloe Coleman) by going to the concert with his friend Parker (Sarah Silverman). Reeling from the unfortunate news that has shaken the nuptials, Kat freaks out on stage and impulsively decides to marry a stranger (yep, you guessed it: Frank Stallone. No, wait. It’s Owen Wilson). They get hitched and Kat’s manager (John Bradley) works with the duo to have a respectable amount of time together to make Kat seem less crazy for the public. Charlie is thrown into a maelstrom of celeb life while Kat starts to enjoy a different world than her days of endorsements and social media. Can two people from different worlds…you know the rest.
First thing to note is that John Bradley was in MOONFALL that just came out last week, and yet MARRY ME’s premise is somehow more insane than the plot of the moon, y’know…falling. But high concept isn’t necessarily a bad thing—most great romantic comedies are predicated on the completely insane circumstances that just happen to align people (HAROLD & MAUDE, SLEEPLESS IN SEATTLE, PRETTY WOMAN, ABOUT TIME, on and on). Nor is there necessarily anything wrong with tropes found in genres/sub-genres. They can be comforting to some viewers, grounding the film for them while it goes off on wild tangents or seemingly impossible events; it also allows for subversion of expectations in the best of movies (it does not do so in MARRY ME).
Neither of these are really marks against Coiro’s film, which is adapted by Harper Dill, John Rogers, and Tami Sagher from a graphic novel by writer Bobby Crosby (who inexplicably runs the DodgerFilms YouTube channel) and artist Remy "Eisu" Mokhtar, hits a lot of the expected notes (pun kind of intended) and adheres to the usual plot structure of these types of movies, in ways that alternate between charming and clumsy.
As noted, the biggest issue is that there is no romantic chemistry between the leads. Wilson and Lopez are both charming in their roles (in their own way), and deliver good performances, but it seems like it would’ve been better suited for them to just be friends (despite being married) and then helping each other find true love with someone else.
Another aspect of the pairing that is odd is that, often in these scenarios where ‘opposites’ from different worlds fall for each other (NOTTING HILL, OVERBOARD, PRETTY WOMAN), they rub off on each other where each takes on some aspects of the other’s personality, showing how combined they become a more perfect union.
MARRY ME never really achieves this for both parties. with Kat becoming more grounded and less extravagant like Charlie…but Charlie doesn’t change at all. There’s a sequence where they challenge each other to try a different experience, with Kat having to be more self-sufficient and not rely on her staff to get things done. Meanwhile, Charlie is tasked with getting on social media. Kat grows into having greater agency and control, while Charlie is popular enough to warrant a website built by one of his students (and hosted on WIX.COM in a very awkward product placement).
Still, there is a lot of fun interaction and the leads convey a real sense of vulnerability and engagement with each other. It doesn’t sell the love affair, but does make it seem like actual conversations are happy between two people who have lived a life and have the stories and scars to prove it. MARRY ME boasts many musical performances (and dance numbers) that highlight the talents of Lopez and Maluma. The Colombian popstar is ostensibly the villain (really more the antagonist), but comes off more like an immature fuck boi than a duplicitous predator threatening Kat and Charlie’s relationship. But the concert sequences show why he would be so alluring to people as he exudes charisma and magnetism in that open-hearted way of many a balladeer.
Lopez proves she is a true multi-hyphenate as, while not every song is a “banger”, she puts everything into her performances and sells them like crazy—whether it’s the heartfelt love songs or the upbeat pop bops, she delivers and emotes in a way that combines her passions and professions (music and acting) better than any of her cinematic vehicles since SELENA. It also bears noting that Lopez’s wardrobe (on and off stage) is awesome and ends up outshining the dialogue and acting in a few scenes.
Though there is something odd about this movie, which isn’t just a romcom but also clearly a push for a new album from Lopez. MARRY ME seems like the type of bridge project that new hot musical act would put out. FROM JUSTIN TO KELLY, GLITTER, THE FIGHTING TEMPTATIONS, and ON THE LINE are all examples where a popstar transitions into film work but keeps one foot in the music world allowing them to deliver on what they are known for and appease their fans. Having Lopez, who is already an established actress (although that fact may be lost on younger viewers), embark on this type of movie seems like an odd move but perhaps the synergy of the two mediums was always the point.
Coiro’s film is interesting enough to watch when seeking some romcom comfort food or to have on in the background while scrolling on your phone or folding laundry. MARRY ME is never a slog, moving faster than the 112-minute runtime would suggest, sped along by mostly fun vignettes powered by enjoyable performances (Bradley and Silverman are especially great and should have played bigger roles in the story). Ultimately, the unfortunate lack of romantic chemistry and narrative misfires dampen any sparks needed for an engaging love story which tends to be central to a movie about romance.
MARRY ME is currently in theaters and streaming on Peacock.