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    big fat zero

    My Big Fat Greek Wedding 3 leaves enjoyment at the altar with zero comedy or charm

    Alex Bentley
    Sep 12, 2023 | 5:55 am

    Keeping a franchise going in Hollywood is dependent on a lot of factors, but prime among them is a studio’s willingness to pay for it and an audience’s interest in seeing more of it. My Big Fat Greek Wedding was the surprise hit of 2002, earning over $368 million worldwide and even a screenwriting Oscar nomination for writer/star Nia Vardalos.

    Vardalos immediately turned that success into a CBS sitcom, My Big Fat Greek Life, in 2003 … which lasted seven episodes. Thirteen years later, she tried to resurrect the franchise with 2016’s My Big Fat Greek Wedding 2 … and was met with a resounding yawn from both critics and moviegoers. And yet, she’s somehow convinced the right people that an audience exists for My Big Fat Greek Wedding 3.

    For the first time in the franchise, the title doesn’t refer to just the family of Toula (Vardalos), but also the location, as she, her husband Lan (John Corbett), her brother Nick (Louis Mandylor), her daughter Paris (Elena Kampouris), and more have returned to the Greek hometown of the family patriarch for a “reunion.” Except, for most of the film, it’s just them, the town’s mayor, Victory (Melina Kotselou), and a few others.

    There is no real plot to speak of from writer/director Vardalos, as it’s just an excuse to string together a bunch of supposedly humorous gags about the unwelcoming nature of one local woman, the boorish personality of Nick, a will they/won’t they with Paris and ex-boyfriend Aristotle (Elias Kacavas), and more. That would be all well and good if the film had any kind of comic timing or charm. Which it doesn’t. Zero.

    In fact, the first 30 minutes of the film are shocking in how inept the filmmaking is, with it turning into the equivalent of watching dead air on radio. None of the jokes land, shots are held on characters for unknown strange reasons, and the music sometimes drops out altogether, making the scenes very awkward.

    Once they arrive in Greece, there are at least the visuals of the countryside to distract, but Vardalos manages to botch even that. Very few of the scenes take place in objectively picturesque locations, and even those that do don’t take full advantage of the views. Why you would travel all the way to Greece to not make it a love letter to that country is strange indeed.

    You would also think that being in Greece would result in fun performances, but almost none of the actors seem like they’re having a good time. The lone exception is Andrea Martin as Aunt Voula, who absolutely slays with her criminally small amount of screentime. Vardalos has also saddled Toula’s mother, Maria (Lainie Kazan), with dementia, a choice that does neither the actor nor the film any favors.

    Much like Adam Sandler setting many of his movies in exotic locations, it feels like Vardalos only made My Big Fat Greek Wedding 3 as a way to get her and her cast to Greece. The film itself is a hodgepodge of scenes with little humor or emotion, making it a waste of 90 minutes for anyone unlucky enough to sit through it.

    ---

    My Big Fat Greek Wedding 3 is now playing in theaters.

    Elena Kampouris, Elias Kacavas, Andrea Martin, Nia Vardalos, Louis Mandylor, and John Corbett in My Big Fat Greek Wedding 3

    Photo by Yannis Drakoulidis / Focus Features

    Elena Kampouris, Elias Kacavas, Andrea Martin, Nia Vardalos, Louis Mandylor, and John Corbett in My Big Fat Greek Wedding 3.

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    Movie Review

    Anne Hathaway's busy 2026 continues with meta-thriller Verity

    Alex Bentley
    Oct 2, 2026 | 3:00 pm
    Anne Hathaway in Verity
    Photo by Alisha Wetherill
    Anne Hathaway in Verity.

    Anne Hathaway has been inescapable for movie fans in 2026, starring in no fewer than five different movies across multiple genres, including Mother Mary, The Devil Wears Prada 2, The Odyssey, and The End of Oak Street. The actor (who’s pregnant and about to take a well-earned break) is wrapping up her supremely busy year with the psychological thriller, Verity.

    Hathaway plays the title character, Verity Crawford, a hugely successful author who writes beach read thrillers, often from the perspective of the villain. An unpublicized car accident renders her immobile and mute, and her husband, Jeremy (Josh Hartnett), and agents make the decision to recruit someone to ghostwrite her next book in order to continue her legacy.

    The person hired for the job is Lowen Ashleigh (Dakota Johnson), an aspiring author whose books mostly get ignored. She’s eager to take on the project, but the reality of Verity’s situation throws her for a loop. When she discovers a secret file that seems to be Verity admitting to some very bad things, Lowen starts to spin even more, imagining situations that may not actually be happening.

    Directed by Michael Showalter and adapted by Nick Antosca from the book by Colleen Hoover, the film initially has a nice rhythm to it, setting up the three main characters well and building up tension. Though current day Verity can’t speak or move, the film gets to the heart of her through old interviews Lowen watches to get to know her mind better. Using that footage and other small moments at the house, a type of rivalry develops between the two characters.

    Strangely, though, Showalter and Antosca fail to capitalize on the early momentum. The story stagnates about halfway through the movie and never delivers on what it seems to be promising. Whether they’re too true to Hoover’s original story or change things too much is difficult to tell for those who haven’t read the book, but either way, the result is a big tease with not much in the way of a payoff.

    What’s most disappointing about the film is its inability to decide on a tone. There are some points where it feels like over-the-top, campy fun, and others where it seems like the filmmakers are going for a straight-up horror vibe. The down-the-middle approach that they land on serves neither the story nor the characters well. Moments that should be full of suspense or could get laughs often fall flat because of the indecisiveness of the filmmakers.

    Due to her character’s affliction, Hathaway is reduced to a supporting role in the film, but she gets by on presence alone and still has a few scenes where she demonstrates her star power. Johnson delivers a good performance despite her typical lack of emotion. Like many of her roles, it’s her body that seems to get more attention than her acting. Hartnett is on a roll thanks to recent roles in Oppenheimer and Trap, and he puts in solid work here, as well.

    Verity has the bones of a tense thriller, but it’s filled in with a bunch of questionable story beats that don’t prove as satisfying as the premise. The meta-plot of the authors of thrillers becoming involved in a thriller themselves should have been juicy and full of great twists, but ultimately it’s as catatonic as Verity herself.

    ---

    Verity is now playing in theaters.

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