The Bridesmaid

    The Bridesmaid
    2004

    Synopsis

    A hard-working young man meets and falls in love with his sister's bridesmaid. He soon finds out how disturbed she really is.

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      Cast

      • Benoît MagimelPhilippe Tardieu
      • Laura SmetSenta
      • Michel Duchaussoyle clochard
      • Aurore ClémentChristine
      • Bernard Le CoqGérard
      • Solène BoutonSophie
      • Suzanne FlonMme Crespin
      • Éric SeigneJacky
      • Pierre-François DumeniauxNadeau
      • Anna MihalceaPatricia

      Recommendations

      • 83

        The A.V. Club

        The Bridesmaid goes slack at times, as it follows multiple Magimel family subplots, but as always, Chabrol stages everything with an elegant economy, moving the camera in short bursts that direct the eye but don't distract. Still, the movie would fail completely if not for the dynamic between the two leads.
      • 80

        The New York Times

        Deceptively understated and finally ferocious.
      • 80

        The New Republic

        Chabrol insured the power of this dangerously difficult film with perfect casting. The two lovers are so well acted that their story--and its finish--are incredibly convincing.
      • 75

        New York Daily News

        The Bridesmaid is fairly familiar Chabrol country, an exploration of the psychological undercurrent of the bourgeoisie, with heavy helpings of black comedy.
      • 75

        New York Post

        The film flawlessly glides along as bodies start piling up. The finale brings to mind another Hitchcock film, "Psycho."
      • 75

        Entertainment Weekly

        If The Bridesmaid is middle-drawer Chabrol, it's almost worth going to just to watch Laura Smet, a vamp of not-so-basic instinct.
      • 70

        The Hollywood Reporter

        Based on the novel by Ruth Rendell, the film could do well with audiences who have a taste for creepy films about murder in the suburbs.
      • 70

        Variety

        At 74, Chabrol is in full possession of his talent for elegant, understated filmmaking, though he's far from his disturbing films of the '50s and '60s.