There’s nothing incredibly groundbreaking and innovative about any of this… but there doesn’t really need to be. It’s a cute, lighthearted throwback that goes down easy in an era of tough-to-watch dramas, and like The Mindy Project, it doubles as an affectionate tribute to classic rom-coms. The cast’s quick chemistry is remarkable, too.

While each episode that contains one of the main five events serves us up something close to the emotional impact of the original, the episodes in between feel too watered down to say anything.

The 10-episode miniseries takes ample creative license with the original. Once you accept that, you’re able to enjoy the miniseries for what it is: a funny, overall well-observed take on Millennial love and the toll that wedding season can take on a group of friends.

"Four Weddings" was best suited to a 2-hour film in the 1990s. It's the kind of story that resists updates and reimagining, and no amount of charm from the actors or rom-com jokes from the writers can make the new version work in 2019.

The problems that stymie this series are the same issues that gum up every less-than-inspired romantic comedy: unrealistic plot twists that happen too suddenly, a lack of rich character development, and dialogue that a real human would never say to another real human in a hundred years. ... Beginning in episode four, when the funeral makes its appearance, some of the characters start to take on a bit more dimension.

Dreary and predictable. ... I would not want to sit with any of the characters in this adaptation. Everyone is either lousy or boring or both. ... The show is a strange misfire at every level. The self-conscious references to other rom-coms make it seem even worse in comparison.

The lack of novelty wouldn’t be a problem if the team behind this reboot had managed to recreate the witty, propulsive feel of the movie. Instead, episodes get bogged down in the friends’ daily lives, providing more mundane backstory than any Four Weddings fan could want. The dialogue is rough; instead of tapping into the literary sensibilities of British comedy, Kaling and co. exploit the London backdrop for broad stereotypes about upper-class and (more egregiously) low-income English people alike.