Bridesmaids

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Wiig is perpetually lost thirtysomething Annie. When she finds out that childhood best pal Lillian (an amusing Rudolph) is getting married and wants her to be Maid of Honour, she's delighted - that is, until she meets new pal Helen (a passive aggressive Byrne). A battle of wills between both women ensues, as Annie's life collapses around her and Helen takes over the preparations. The only positive thing to happen to Annie just might be a caring cop (the increasingly consistent O'Dowd), who pulls her in on a DUI - but her self-destructive personality might just mess that up, too.

Boasting more laughs than any other film so far this year, there's an effortlessness to Bridesmaids that just makes the whole thing go down very easy. Director Feig doesn't smother his cast in punchlines, instead giving his talented ensemble room to let loose and pillage the hilarity. While films of this ilk have a habit of completely zoning in on a core desperate singleton or annoying bride, the net here is cast wide and allows everyone a chance to shine. It's a testament to their fine performances that you'd like to see more of each supporting player.

The majority of the screen time does fall to Wiig, however, who does a stellar job double-gigging as writer and star. She's far from selfish with the laugh quota, either; Annie may be a self-confessed dunce, but she's a thoroughly likeable one. O'Dowd also continues his ascent up the Hollywood comedic ladder as the love interest, proving himself as a viable romantic lead.

As the three remaining bridesmaids with little exposition to shoulder, McLendon-Covey, McCarthy and Kemper are all very humorous. In fact, you could easily see each of them carry their own movie - a credit to the strong scripting and fine performances.

Boasting the kind of consistent laughs rarely seen in Hollywood, Bridesmaids could well be the most crowd-pleasing film of the year.