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Is Anna Kendrick America’s Sweetheart? Sub-question: If she isn’t, does America deserve a sweetheart at all? We may not have one; Hollywood studios have written off romantic comedies, traditionally a chief incubator of big-screen sweethearts, as, I guess, not profitable enough, despite their relatively low budgets and relatively high rate of financial success (how did producers not look at The Ugly Truth’s box office and think, OK, literally any of these could make money?). But Kendrick has the chops – the instant likability, the comic prowess, the willingness to look ridiculous and sound either sincere or snarky about it, depending on the scene – despite never having actually starred in a rom-com.
She’s come close: Last summer’s Mike and Dave Need Wedding Dates is more of a Step Brothers knockoff than a vehicle for the Julia Robertses of today, but she is the romantic lead in it, as well as enormously winning and funny. The Last Five Years is all about a relationship, but it’s not especially comedic and, actually, not very romantic, either. Drinking Buddies is a pretty great rom-com, but Kendrick is in second position for most of it (Jake Johnson and Olivia Wilde are at the center). Kendrick is good in all of these movies, and they’re all more enjoyable than, say, The Proposal, so maybe it’s not a problem that she’s come into her own as a star at a time when this particular genre is on the wane. Kendrick has kept to her indie roots even following the enormous success of the Pitch Perfect series, remaining open to tiny budgets and/or costarring with Sam Rockwell. But this can make watching her in an indie rom-com substitute like this week’s Table 19 a frustrating experience. If you’re going to make a bad movie set at a wedding – and Table 19 is both of those things – why not at least go with enjoyably hokey, rather than self-consciously quirky?