Pic is narrated by Block, who recalls details of the original weddings (seen in video excerpts) as we're serially introduced to former clients married anywhere from three to 19 years. The first duo are the least complicated; they're so simpatico they incessantly talk over one another, as if their two voices now constitute a single POV. Also making a humorous impression are two Brooklyn hipsters who semi-sarcastically note the "torture" of raising a child in a small one-bedroom apartment, though one senses some real strife behind the snark.
Two free spirits had hired Block 13 years earlier to film their very New Age-y "partnership ceremony" -- they'd viewed marriage as an archaic form of ownership, but in talking to the filmmaker now decide they'll belatedly get hitched after all, as both a legal formality and a renewal of commitment. They are in turn contrasted against the very traditional-looking union of a Korean concert violinist and a stiffly composed WASP husband. He squirms in embarrassment whenever she hints at the routine reality of occasional marital discord.
Perhaps the most bizarre visit is with David, a walking pharmacy whose marriage to Janice (a no-show here) crumbled in the wake of his failed screenwriting ambitions and amusingly self-aware yet crippling mental health problems. A more ordinary if also more wrenching divorce occurs when, after nearly 20 years, Steve announces he's leaving and already deep into an extramarital affair -- devastating news to Sue, who'd staked everything on their domestic stability.
Some sense of narrative arc is provided by the countdown to young Heather and Sam's upcoming nuptials in her home state of Montana. His anxiety at being on foreign ground reaches an apex when one family tradition has him facing a firing line of laconic menfolk who offer dry "advice" from personal experience. (By contrast, the bride's equivalent female audience is giddily relaxed.)
These real-life mini-dramas are naturally involving. Yet despite the different problems that arise (and the brief presence of two partnered lesbians who are also wedding photographers), the couples here don't feel especially diverse, consisting mostly of the white, middle-class New Yorkers who form Block's client base. So there's a certain narrowness of experience to "112 Weddings" that undermines its already rather tepid attempts to arrive at generalizations about the state of 21st-century marriage.
Result is more a series of entertaining parts than a substantial whole. But it's smoothly assembled, with solid a solid tech package and lively pace.
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