The only good news about this movie is that Anne Hathaway is a professional performer. She is given a most unlovable role to play and she plays it flawlessly. Also, you don't have to worry about reading a spoiler, because nothing worth spoiling happens during the whole movie.

In a nutshell, the movie is a sort of fake documentary about a multiracial wedding organized by a severely dysfunctional family. Members of said family are narcissistic, rehab babe Kym (Hathaway); her snobbish sister Rachel; their divorced, weak father and their fed-up mother.

I will mention only a few among the movie many problems

1) the music played throughout the film is simultaneously nerve-wracking and monotonous. A special note of demerit to a strident violin that drills its way into your brain; 2) the fake documentary style is achieved by filming with a shaking camera, probably hand-held by a monkey; 3) the whole film, already pretty inconsistent is further watered down by a couple of excruciatingly tedious scenes. The first is the rehearsal dinner, during which almost every guest is given a chance of saying something banal about the happy couple. This type of thing is corny enough in real life, but when one has to sit through some 20 minutes listening to stupid stories about fictional characters, it becomes unbearable. The second is the post-wedding party. Here again we are given ample time to observe each and every character dancing, contorting and generally making a fool of themselves at the sound of ethnic world music; 4) the cast looks just out of a famous "United Colours" advertisement. It could not have bee more politically correct or multiracial than this. Actually, to the point of absurdity, because the bride wears a sari and cuts through an Indian wedding cake, despite the fact that neither she nor the groom are Indian. Why going Indian? No answer; 5) finally, even if Anne Hathaway does a good job, her character is so unlovable, self-centered and self-destructive that it does not elicit the least sympathy.

At a certain stage I sincerely hoped that Kym would manage to kill herself, to put an end to her - and the audience - misery and to provide some sort of cathartic moment to this otherwise lethargic movie. Obviously, no such luck. As mentioned above, nothing happens, dramatic or otherwise.

If you dislike real wedding for their sleazy jokes, drunken guests, never-ending speeches and headache-provoking bad music, avoid this movie at all costs. Also if you like good movies

Sitting through a movie about sibling rivalry at a wedding, especially one starring the doe-eyed and normally facile Anne Hathaway, sounds like a potentially painful way to spend an evening. However, as directed by Jonathan Demme and written by Jenny Lumet (Sidney's daughter),this 2008 drama is not a lightweight star vehicle à la Julia Roberts circa 1997 but a darkly realistic look at the dysfunction within a family thrown into disarray. Using an almost cinéma vérité style, Demme explores how a wedding reopens old wounds within a family in a naturalistic way made all the more palpable by the emotional acuity in Lumet's screenplay.

The focus is on Kym, a chain-smoking former model who has spent the last several months in rehab. As a substance abuser whose only armor is cutting sarcasm, she is absurdly hopeful that her sister Rachel's wedding will be a harbinger for unconditional love from her upscale Connecticut family. Therein lies the problem as her narcissism provides the catalyst for long-simmering tensions that uncork during the preparations for a lavish, Indian-themed wedding weekend (the movie's working title was "Dancing with Shiva"). It soon becomes clear that Kym's link to a past tragedy is at the core of the unpredictable dynamics that force confrontations and regrettable actions among the four principal family members. Rachel appears to be Kym's sensible opposite, but their alternately close and contentious relationship shows how they have not full recovered from past resentments. Their remarried father Paul is a bundle of loving support to the point of unctuous for both his girls, while their absentee mother Abby is the exact opposite - guarded and emotionally isolated until she is forced to face both her accountability and anger in one shocking moment.

Anne Hathaway is nothing short of a revelation as Kym. Instead of playing the role against the grain of her screen persona, she really shows what would happen if one of her previous characters – say, Andy Sachs in "The Devil Wears Prada" - went another route entirely. The actress' studiousness and persistence are still very much in evidence, but the story allows her to use these traits under the guise of a self-destructive, often unlikable addict who gains attention through her outrageous self-absorption. As the put-upon title character, Rosemarie DeWitt realistically shows Rachel's sense of pain and resentment as the attention veers to Kym during plans for the most important day of her life. Bill Irwin is winning as the unapologetically grateful Paul, but it's really Debra Winger who steals her all-too-brief scenes by bringing the remote character of Abby to life. Now in her early fifties, the famously tempestuous actress seems to rein in her innate fieriness to play a woman who consciously disconnects herself from the family she raised. What remains is a crumbling façade of propriety masking this obvious gap. It's similar to Mary Tyler Moore's turn as the cold mother in "Ordinary People", but casting the normally vibrant Winger (who probably would have played Kym a quarter century ago) is a masterstroke.

The film is not perfect. Demme's home-video approach, while novel at first, proves wearing over the 114-minute running time. Pacing is also a problem, especially when the focus turns to the minutiae of the wedding ceremony and reception. I wish Demme could have cut this part of the film, so we could get to the icy, unfinished resolution sooner. As a filmmaker who obviously enjoys making music concert films ("Stop Making Sense", "Neil Young: Heart of Gold"),there are quite a few musical performances presented in total. However, for non-aficionados, it may prove too much over time. While it's refreshing to see interracial marriages treated so casually (Lumet's grandmother is legend Lena Horne),Demme makes almost too big a point in presenting a global community though the diverse music and the wedding's multi-cultural themes. The movie starts to feel like a Putumayo collection of third-world performances. Still, Demme's intentions can't be faulted, and neither can the piercing work of Hathaway and Winger.

The kind of movie that gives films about family dysfunction a good name.

Anne Hathaway plays Kym, troubled younger sister to Rachel, who's (as the title suggests) getting married. Kym gets a leave of absence from rehab in order to attend Rachel's nuptials. Once she's back home, old sores open up, sisterly resentment boils over, and the accusations and tears fly, all while ineffectual dad (Bill Irwin) tries to play referee and emotionally distant mom (Debra Winger) remains auspiciously absent.

If this sounds like a slog to sit through, don't be scared off. Unlike the recent and absolutely atrocious "Margot at the Wedding," which this film reminded me of, "Rachel Getting Married" is full of flawed but deeply sympathetic characters who I for one cared tremendously about. Anne Hathaway gives the kind of performance that will convince people she's more than just a pretty face, while she's met every step of the way by the less well known Rosemarie Dewitt, who plays Rachel. In a movie like this, it's crucial that the audience understands the back story that led the characters to their current dynamic, and it's a minor miracle that "Rachel Getting Married" does that without the use of flashbacks, voice over or even extensive scenes of plot exposition. Much of the story is told through nuance, in slight expressions or gestures, and the cast is uniformly fierce, every single member creating complex, flesh-and-blood people that aren't easy to instantly categorize. The film is an acting tour de force in every sense of the word.

Hathaway and Dewitt get the most opportunities to shine, but Irwin and Winger do wonders in their smaller roles as the parents. Winger, in particular, is devastating.

My only complaint is a big one -- an edict must be passed in Hollywood banning directors from filming entire movies with hand-held cameras. The trend is cliché and over. No, it does not add "realism" to a film. It merely distracts from all of the other elements that are good enough to stand on their own without the gimmickry. The cinematography was much less obtrusive in this film than in some others I can name, but it still served as a liability, not an asset.

Grade: A