“For though the normally on-point Melissa McCarthy has defended her role in this film, I find it hateful and, yes, antifeminist. She’s the badly dressed, (mostly) delusional, greedy-Gus fat girl whose desire is trotted out solely as a source of humor. She takes all the wedding party favors (live puppies, an admittedly excellent touch) and assumes she’s good friends with Annie though, apparently, the two have only hung out a few times. (That Annie doesn’t protest this fact seems more a product of the film’s slipshod editing than anything else.) And though she may correctly identify a nebbish on the plane as an undercover US Marshal, their subsequent sex scene –in which she pauses to eat enormous amounts of food between throwing him down—is worse than any of the have-their-cake-and-eat-it-too bullshit that you’d expect from the Farrelly Brothers. Or take the dynamic between good-girl bridesmaid Kemper and the wannabe MILF who leads her to the dark side and, yes, makes out with her in the perfunctory girl-on-girl scene (a subplot that clocks in at roughly two minutes). And, really, the whole “girl fight” theme that provides the backbone of the storyline is a disaster. It’s not just all these elements are retrograde; it’s that female bodies, and specifically female desire, is consistently objectified as fodder for amusement and very mild titillation, and the “subject” doing the objectifying is the same-old, same-old—Juddy’s boys, in other words—while we women somehow cheer it on.”