TIL DEATH DO US PART (2023) Review by Steve Kirkham

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TIL DEATH DO US PART (2023)

3 stars
Plaion Pictures. Digital 8th April

The publicity for TIL DEATH DO US PART declares it is from “the creator of FINAL DESTINATION” – though don’t get too excited as I think this might be stretching a point. I assume the connection is Jeffrey Reddick, who co-wrote the screenplay of that film from 2000, and is here listed as one of the eleven (!) producers of the movie under review.

In this, the screenwriters Chad Law and Shane Dax Taylor, seem intent on keeping the audience confused – in an attempt to appear clever. It isn’t. A wedding, but the Bride (Natalie Burn) looks apprehensive. Cut to her and her Groom (Ser’Darius Blain) on their honeymoon in Puerto Rico. This is one of those films where none of the characters have names – only descriptions of their roles. Why? Who knows! There they meet an older couple celebrating their 20th Anniversary – Husband (Jason Patric) and Wife (Nicole Arlyn), who invite them to their yacht.

But then, puzzlingly, the Bride leaves her betrothed at the altar. Didn’t we just see them in post wedding bliss? She drives through the night, ending up at her family home. No one is there. She is followed to this remote location by the six groomsmen lead by Best Man (an annoying Cam Gigandet, who appears to be working from a completely different script than the rest of the cast).

We are some twenty minutes in and you’ll be asking yourself just what is going on!

The Bride soon realises she is in danger from the interlopers. Luckily, she is no wallflower and starts to fight back… this violent and sometimes gory mayhem is intercut with further scenes on their honeymoon – and yet they aren’t married yet! Or are they? There is something more going on here, which eventually one hopes will become clear – though the filmmakers are in no hurry to elucidate.

Burn, the lithe lead actress, is the best thing here and does her own stunts by the look of it. She is better than the weak script, which has similarities to the infinitely superior READY OR NOT (2019). The fight sequences are well staged for the most part, but this is not enough to carry the messy narrative, which has poor attempts at humour and several spurious scenes of characters dancing for no discernible reason than to expand the running time. This is the kind of production that desperately wants to be considered cult, but the dialogue is clumsy (and there’s too much of it) and there is little or no tension to keep you engaged.

Steve Kirkham