Jane has been in love with the idea of weddings ever since she was a little girl. Her amazing organisational skills means she's been a bridesmaid twenty-seven times, but has yet to be a bride. She's completely enamoured of her boss George, but all her romantic hopes are dashed when George meets and falls for her glamorous younger sister Tess. If that wasn't bad enough, her selfish sibling expects her to organise the perfect wedding for her and George in just three weeks. Meanwhile cynical journalist Kevin is hot on Jane's tail. Could it be that he's after a story about the perennial bridesmaid? Or are his interests more than professional?

The screenplay by "The Devil Wears Prada" screenwriter Aline Brosh McKennna doesn't have the bite of her more famous work. It follows the romantic comedy format without deviation. You know boy and girl will meet, initially dislike each other, be brought together by circumstance, fall for one another, fall out and then get back together in time for a happy ending. Of course Jane and Kevin are total opposites; she's a die-hard romantic and compulsive organiser, while he's a cynical anti-marriage proponent just wanting to get away from his job in "the taffeta ghetto". This should set the scene for plenty of clashes, but the characters are too nicey-nicey to have more than the occasional tiny spat. And the Filofax maguffin that brings them together in the first place is too obvious a plot device. Besides the focus is split so we spend half the time focussing on Jane's reactions to her sister's impending marriage to her boss and long-term object of affection. But this approach doesn't quite work because the two main storylines distract from each other rather than meshing to form a coherent narrative.

The original music by Randy Edelman is par for the course for this kind of movie. So expect lots of light orchestral arrangements that emphasise the playful strings and twinkly pianos. There are also syrupy strings slapped all over anything even remotely romantic. Less expected are the light funk motifs that feature Hammond organ, slap bass and brushed cymbal. But these are more effective at conveying a sense of fun. Of the other soundtrack choices, all except Amy Winehouse's version of "Valerie" feel unremarkable. From "Imagine Me and You" to the whispery indie that crops up when everything goes wrong, you can feel them before you hear them.