BABYGIRL (2024)

December 24, 2024

Greetings again from the darkness. Oscar winner Nicole Kidman long ago entrenched herself as one of the best and most daring actors working today. Not one to shy away from risky material, she’s appeared in such films as EYES WIDE SHUT (1999), DOGVILLE (2003), BIRTH (2004), and THE NORTHMAN (2022) to name just a few. It’s her talent and willingness to put herself out there that has earned such respect among peers and fans. However, despite that admiration, this latest is one of my least favorite films of the year, and one that I found almost no positives to discuss. I will readily admit this opinion puts me in the extreme minority.

The first feature film from writer-director (and actor) Helena Reijn was BODIES BODIES BODIES (2022), a festival and indie favorite. That success led to this cast which finds Harris Dickinson (THE IRON CLAW, 2023, and WHERE THE CRAWDADS SING, 2022) and long-time favorite Antonio Banderas joining Kidman. Now, despite my negative reaction to this viewing experience, I do recognize that some credit is due for tackling an uncomfortable topic – an unethical dominant/submission relationship between a powerful CEO and her intern. We are supposed to believe Romy (Kidman) is incredibly important and busy because her cell phone is constantly in use (but then that’s the case for most teenagers, too). Once again, Hollywood proves that it’s clueless on how to authentically present a business environment.

Further stretching the scenario beyond any realm of believability, cocky intern Sam assertively pursues a taboo relationship with the big boss rather than work towards a job offer that most interns focus on. While there is a bit of fun in the early “will they or won’t they” cat-and-mouse scenes, once things move forward, the film takes on the tone of a power play parody. “Good girl” draws laughter from the audience … as does her suggestion of “Jacob” (her husband’s name) as a safe word.

The ramifications for CEO (or wife and mother) Romy never carry the pain we would expect, and the threats always seem a bit hollow. None of this is meant to purport that dominant/submissive desires and relationships don’t exist, only that this extreme is difficult to buy into. On the bright side, Banderas shines in the moment he flashes his anger, and it’s a real treat to hear “Never Tear Us Apart” by INXS blasting on a theater sound system. Nicole Kidman is gaining momentum for yet another Oscar nomination for her performance, so again, I’ll admit to being in the minority with my opinion on this one. Still, I can’t bring myself to recommend, even if I hope you find it more entertaining than I did.

Opens in theaters on December 25, 2024

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Posted by David Ferguson

THE FIRE INSIDE (2024)

December 24, 2024

Greetings again from the darkness. Claressa Shields’ story is inspirational, and yet it’s so much more than that. She’s an extraordinary person with a remarkable story. She doesn’t just inspire young girls to pursue sports, she motivates us all to pursue our dreams with passion and tenacity. It’s only fitting that the first feature film directed by renowned cinematographer Rachel Morrison centers on a barrier-breaking woman. Ms. Morrison was the first woman to receive a Best Cinematography Oscar nomination for her work on MUDBOUND (2017). The screenplay was written by Oscar winner Barry Jenkins (MOONLIGHT, 2016), and he’s also a producer on the film.

We first see young Claressa as she’s running through her downtrodden hometown of Flint, Michigan to reach the boxing gym … the same gym where volunteer trainer Jason Crutchfield (a terrific Brian Tyree Henry, BULLET TRAIN, 2022) tells her he doesn’t train girls, and later admits, he’s “never thought about girls boxing.” Of course, Jason not only ends up working with Claressa, he also becomes a full-bore role model as her trainer/coach/mentor. Young versions of Claressa are played by Jazmin Headley and Kylee D Allen, and it’s Ryan Destiny (musician-actress-model) who we come to follow as Claressa “T-Rex” Shields, so nicknamed due to her short arms. Destiny is outstanding in the role.

Being a young girl wanting to learn boxing is not Claressa’s only challenge. She grows up very poor, often scraping for food. Her mother doesn’t seem particularly interested in being a mother, and ends up kicking the strong-willed girl out of the house. We learn Claressa even experienced sexual abuse as a child. The film doesn’t glorify or skip over the hard parts of her life, focusing instead on how she remained committed to her dream as she overcame hurdles. This Claressa defines “grit”, an often-overused description.

Jason and his wife invite Claressa into their home, and her training goes next level. We do get the mandatory training montage (thanks, Rocky!), and we see her advance through the stages of matches until, at age 16, she qualifies for the 2012 Olympics in London. By this time, her dad is out of prison and her little sister is pregnant, yet none of that, or even the odd Olympic coaching regulations, can stop her mission. As interesting and fascinating as this quest for a gold medal has been, it’s what Morrison and Jenkins (and Claressa) do after London that is most impressive.

The all-too-familiar struggle of female athletes to secure endorsements becomes a nightmare for Claressa. The emphasis on aesthetics overrides excellence in athletics. She’s told that sponsors are looking for marketability – what a woman looks like out of the ring is every bit as important. The frustration of not being able to cash in motivates Claressa to fight for women’s Olympic equality, a worthy and successful cause. Oh, and yes, she continues training and the closing credits show clips of her at the 2016 Olympics, winning her second gold medal. As I stated, she’s more than an inspiration.

Opens in theaters on December 25, 2024

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Posted by David Ferguson

THE ROOM NEXT DOOR (2024)

December 21, 2024

Greetings again from the darkness. I’ve said it many times, and it still holds true, Oscar winner Pedro Almodovar is the most accomplished male filmmaker when it comes to creating interesting female characters and spinning female-centric stories. Almodovar’s first English-language feature-length film is one he’s adapted from the 2020 novel, “What Are You Going Through”, by Sigrid Nunez. It features two Oscar winners, Julianne Moore and Tilda Swinton, both extraordinarily talented.

Noted author Ingrid (Julianne Moore) is at a book signing for her latest work on the fear of death. Jumping the line and surprising her is her long ago friend Martha (Tilda Swinton). The two previously worked together, are genuinely happy to embrace, and meet up after the signing. Martha informs Ingrid that she has stage 3 cervical cancer and is beginning an experimental treatment. While visiting Martha at the hospital, Ingrid not only learns the treatment has failed, but soon after is hit with what can be termed, “a huge ask”. Having no interest in continuing treatment, Martha informs Ingrid that she wants a friendly face ‘in the room next door’ when she takes the magic “goodbye” pill.

What follows is not a moral debate about fighting to live or taking one’s own life. Ingrid has made her decision. The lingering question is, how much can be expected in a friendship? Ingrid admits Martha was not her first choice – the others turned her down. Once Martha reluctantly agrees, Ingrid rents a stunning home in the woods … very private and very serene. As you might expect, Almodovar highlights many shots throughout with his trademark use of color, geometric lines, and architectural design. The women, the house, the setting, the art, the clothes, and the sets are all gorgeous. Special recognition goes to Cinematographer Eduard Grau (the equally gorgeous A SINGLE MAN, 2009), Production Desiger Inbal Weinberg (THE LOST DAUGHTER, 2021), and Costume Designer Bina Daigeler (VOLVER, 2006).

With the two women sharing the house, Ingrid anxiously keeps an eye on whether the bedroom door is closed or open (the ‘sign’), while Martha has flashbacks to her time as a war journalist on the front lines. Ingrid meets up with Damian (John Turturro), her former lover and something else the two women shared. Damian is a doom and gloom type focused on climate change and global crisis. This stands in stark contrast to Ingrid’s optimism. Of course, Martha has planned everything so that Ingrid is not in danger of being charged with assisting euthanasia, although a religious fanatic police officer (Alessandro Nivola) questions her aggressively.

There are some lovely moments shared between friends, and yet there are also scenes that could have used a sharper edge to the dialogue – especially the exhaustive exposition early on as Martha runs down the timeline of her entire life (much that Ingrid would have already known). There are references to Buster Keaton and John Huston’s movie, “The Dead”, and Almodovar throws in a nice touch when Martha’s daughter makes an appearance towards the end. Martha’s need/desire for connection, familiarity, and companionship are all believable, yet that “favor” remains a whopper.

Opens in NYC AND LA theaters on December 20, 2024, expanding in January

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Posted by David Ferguson

THE BRUTALIST (2024)

December 20, 2024

Greetings again from the darkness. Too many view WWII as just another page in history books, when in fact, so much changed around the globe because of that war. Almost 80 years later, the war continues to provide stories for filmmakers, and when it comes to storytelling, few do it better than this latest from writer-director (actor-turned-filmmaker) Brady Corbet and his co-writer (and romantic partner) Mona Fastvold. The two had previously collaborated on THE CHILDHOOD OF A LEADER (2015) and VOX LUX (2018).

This is an old-fashioned epic on a grand scale with a few specific features that deserve to be highlighted. At 3 hours and 35 minutes in run time, Corbet included a throwback intermission (with a 15 minute countdown on screen). The opening credits run right-to-left horizontally, while the closing credits run diagonally. For true film geeks, the film is shot in VistaVision to capture the period feel. Part 1 covers 1947 through 1952, while Part 2 covers 1952 through 1960, and the Epilogue takes us to Venice in 1980.

Oscar winner Adrien Brody stars as Laszlo Toth, a Hungarian architect who arrives in post-WWII America after using heroin “for the pain” on the boat ride over. Due to administrative and governmental red tape, Laszlo had to go ahead of his wife and niece, to whom he writes regularly. A familiar face from home greets him upon his arrival. Attila (Alessandro Nivola, FACE/OFF, 1997) has already been Americanized to the point where he’s married and running a custom furniture business. He offers Laszlo a room to sleep and a chance to help design furniture. When Harry Lee Van Buren (Joe Alwyn, THE FAVOURITE, 2018), the son of a wealthy Pennsylvanian tycoon, contracts for a re-design of dad’s library, Laszlo gets a chance to show his brilliance. It turns out, Harrison Lee Van Buren Sr (Guy Pearce) does not like surprises and tosses the workers out.

Soon, a cooler head prevails for the tycoon, and he tracks down Laszlo for a project of much larger scale – a massive memorial on a hill overlooking the city. The project builds an odd connection between rich Harrison and brilliant Laszlo – although the rich guy remains anything but stable, and his son flaunts his own arrogant annoying tendencies (an Alwyn specialty). Laszlo maintains one true friendship. He bonds with Gordon (Isaach de Bankole) after meeting him in the food shelter line. Despite the new World, Laszlo continues to struggle with poverty; however, one of Van Buren’s lawyers is amenable to assisting with the paperwork for bringing Laszlo’s family to the states.

Part two brings wife Erzsebet (Felicity Jones, THE THEORY OF EVERYTHING, 2014) and mute niece Zsofia (Raffey Cassidy, THE KILLING OF A SACRED DEER, 2018) to America. Erzsebet is wheelchair bound after nearly starving to death due to the war. She’s a smart woman married to a creative genius, and yet the land of opportunity continues to toss hurdles in their path (not the least being Laszlo’s continued use of drugs). The moments of hope include a trip to the stunning Carrara quarry to locate the perfect piece for Van Buren’s project.

It should be noted that, despite the lead character’s name, this is a fictional account of the period, and the journey is both physically and emotionally draining. That’s also true for viewers, as I was exhausted by the end. Corbet uses the Epilogue to take us to Venice in 1980 for the first Architectural Biennal. It’s a fitting end after watching the battles of Jews versus Christians, and Immigrants versus American born, all while the United States is booming. I wasn’t ever able to understand the message Corbet was sending by exaggerating footsteps throughout, but I do recognize that Cinematographer Lol Crawley and Production Designer Judy Becker worked some magic along with Corbet and Fastvold … and yes, Adrien Brody, who along with Guy Pearce, deliver some of the finest acting we’ve seen all year. This is not a film so much about the brutalist style of architecture, but rather a film about character and personality during brutal times – and finding a way to utilize one’s true talent, while also remaining true to one’s roots. This is a complex story and one that fully captured me right from the unconventional opening credits.

Opens in limited theaters on December 20, 2024 and wide in January 2025

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Posted by David Ferguson

QUEER (2024)

December 6, 2024

Greetings again from the darkness. Some filmmakers have earned the benefit of the doubt to the point where each film they release is worthy of consideration. Luca Guadagnino is one such filmmaker. He first captured my attention with I AM LOVE (2009) and has since followed that with such interesting films as A BIGGER SPLASH (2015), CALL ME BY YOUR NAME (2017), SUSPIRIA (2018), BONES AND ALL (2022), and CHALLENGERS, his first film released in 2024. This time he and his CHALLENGERS screenwriter, Justin Kuritzkes, take on the 1985 William S Burroughs novella, “Queer”, which was linked to his 1953 novel, “Junkie”.  Taking on the writing of William S Burroughs is challenging enough as a reader, much less as a filmmaker.

Daniel Craig stars as William Lee. If you are familiar with Burroughs’ writing, then you are aware the character of William Lee shares many of the same personal attributes as Burroughs himself. He’s a gay man who drinks too much, does hard drugs, and is quite sexually promiscuous. The film opens with Chapter 1: How do you like Mexico?  Lee spends his time drinking non-stop and carousing for his next roll in the proverbial hay. He has a few fellow ex-pat friends, including Joe Guidry (Jason Schwartzman), but it’s a certain cool cat that catches his eye. Eugene Allerton (Drew Starkey) is a young ex-soldier and Lee is quickly enamored.

The two hang out together, although Lee is never really certain if Eugene is gay or not since he spends much of his time playing chess with fellow bar patron, Mary (Andra Ursula). One night of passion between Lee and Eugene leads to Chapter 2: Travel Companions. The two men make their way to South America as their awkward relationship (and agreement) leads to more booze. Chapter 3: The Botanist in the Jungle is certainly one of the most bizarre segments of any movie this year, as the men hike deep in the jungle to connect with a doctor who has researched some ‘vegetation’ that may solve Lee’s fascination/obsession with telepathy. There is no viable description for this segment, but kudos to anyone who recognizes Leslie Manville – the one who has a pet sloth and keeps a viper for home security.

The Epilogue picks up two years later, and it’s here where Lee’s long struggle with loneliness becomes most apparent. His time with Eugene provides home of a true, lasting relationship with something other than a tequila bottle or a heroin needle. Daniel Craig and Drew Starkey are both excellent here, and may each receive awards consideration. If your previous exposure to Mr. Craig is through the James Bond movies, you might find this role a bit surprising, but those who have followed his career are in the know. One final note (no pun intended), the score from Trent Reznor and Atticus Ross perfectly captures the longing for connection (aka loneliness).

Opening in theaters on December 6, 2024

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Posted by David Ferguson

NIGHTBITCH (2024)

December 6, 2024

Greetings again from the darkness. J.D. Salinger once wrote, “Mothers are all slightly insane.”  Rachel Yoder’s critically acclaimed 2021 novel has been adapted for the big screen by writer-director Marielle Heller, and it seems to confirm the Salinger theory. Ms. Heller has previously directed A BEAUTIFUL DAY IN THE NEIGHBORHOOD (2019), CAN YOU EVER FORGIVE ME? (2018), THE DIARY OF A TEENAGE GIRL (2015). She excels in projects that focus on human nature.

Amy Adams jumps into the role with both feet (or is it four paws?). Having been previously nominated for six Oscars, her seventh would certainly not be surprising. She plays a renowned artist-turned-stay-at-home mom, and proceeds to convey the frustrations and anxiety that accompany such self-sacrifice. We watch as her feelings result in an unusual transition that finds her with a heightened sense of smell, an innate dislike of cats, and an inordinate ability to attract and run with the neighborhood canines. There are even some physical attributes that occur, further blurring the line between fantasy and reality. At times, it’s a bit surreal.

We are clued-in to her inner-dialogue early on when she meets a professional acquaintance at the grocery store. With her son (played by twins Arleigh and Emmett Snowden) in the buggy seat, we hear both what this mother is thinking and then what she actually says out loud. It’s a terrific shortcut for viewers. When she finally lashes out at her husband (Scoot McNairy), he reacts in the typically clueless, though well-meaning manner we’ve come to expect from dads in this situation.

The movie has a relatively short runtime (barely 90 minutes), and we gain insight into her frustrations through mom-groups (Zoe Chao, Mary Holland, Archana Rajan), exchanges with the librarian (Jessica Harper), flashbacks to her childhood, and of course, the ‘real’ moments with her husband. The inner-dialogue moments could have been used even more frequently, and the canine moments are effective despite not really pushing the envelope as far as we’d have liked.

Losing one’s self is perhaps the biggest threat from motherhood, and we aren’t certain whether to classify the ending as redemption or reclamation. Either way, the motherhood path is absurdly challenging physically, mentally, and emotionally. Loving one’s child and spouse is not enough to maintain a sense of sanity and self, and the film picks up on all of this from a personal perspective, while also giving a glimpse at how the outside world (former colleagues) simply can’t understand. The film lends itself to further discussion and analysis, but that’s enough for now.

Opening in theaters on December 6, 2024

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Posted by David Ferguson

NUTCRACKERS (2024)

November 28, 2024

Greetings again from the darkness. I’ll give you the set-up and you tell me how it ends. A workaholic real estate developer drives his yellow Porsche from Chicago to a middle-of-nowhere Ohio farm after his sister and brother-in-law die in a car crash. He’s there to sign paperwork for a foster family to take the four brothers left behind. However, there’s a glitch, and the stressed-out uncle is forced to extend his time with the four boys. Since, we can all guess how this story ends, the determining factor on whether it’s worth watching is what happens in-between.

Director David Gordon Green has had quite a strange and diverse string of projects, going back to PINEAPPLE EXPRESS (2008), his recent horror reboots with HALLOWEEN (2018) and THE EXORCIST: BELIEVER (2023), and numerous TV series, including “Eastbound & Down”. The screenplay comes from Leland Douglas, and the film draws Ben Stiller out of leading man semi-retirement (he’s been directing episodes of “Succession”).

Michael (Stiller) is shown zipping through the countryside conducting important business on his cell phone as he drives. When he arrives on the farm, he immediately steps his expensive loafers into animal excrement. The social worker (a criminally underutilized Linda Cardellini, “Mad Men”) informs him that the foster family backed out and he’s now responsible for his four nephews, until a new foster family can be found. The boys have been home-schooled and living off the grid (pigs in the house, etc). They obviously have trust issues with an uncle who obviously doesn’t want to be there.

For this story to work, we have to believe two things: that the boys connect with Mike and that Mike learns what really matters in life and is willing to drastically change. The four Kicklighter boys are played by real life Hanson brothers Atlas, Ulysses, Arlo, and Homer. They are truly the highlight of the movie, and it’s a shame the story doesn’t better utilize the dynamic of their transformation. Instead, there are a couple of side stories involving the town’s rich man (played by Toby Huss, The Wiz from that “Seinfeld” episode), and a greedy professional foster home mother (Edi Patterson, KNIVES OUT, 2019). These stories should have been better explored or ignored completely to concentrate on Michael and the boys,

Some comedy elements are introduced – Michael paddleboarding in the pond and Captain Bebop’s Ice Cream truck, but the attempt at a sentimental ending is never earned and feels out of place, based on what we’ve watched. This has the look and feel of a Hallmark Christmas movie, yet it’s missing charm and seasonal spirit. Perhaps UNCLE BUCK (1989) is the closest comparison, but this one never really comes close to matching that one.

Releases on Hulu on November 29, 2024

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Posted by David Ferguson

THE PIANO LESSON (2024)

November 26, 2024

Greetings again from the darkness. Playwright August Wilson has a nice string of his stage work being adapted for the big screen. First, there was FENCES (2018), then MA RANEY’S BLACK BOTTOM (2022), and now this latest is the first feature film from writer-director Malcolm Washington (son of Denzel), with a screenplay co-written with Virgil Williams (MUDBOUND, 2017). This thoughtful allegory asks the question, when is a piano more than just a piano?

The film opens on Independence Day in 1911, and as fireworks fill the sky, a group of men steal a piano from their slave owner. We quickly jump ahead 25 years to 1936 and find Boy Willie (John David Washington, also son of Denzel) and his friend Lymon (Ray Fisher, “True Detective”) taking a wagon full of watermelons to Boy Willie’s sister house. The plan is to sell the watermelons and his sister’s piano so that Boy Willie can purchase a plot of land where his ancestors worked as slaves. It’s a simple plan that makes sense … except his sister, Berniece (Danielle Deadwyler, so good in TILL, 2022) has no intention of selling the piano, a family heirloom.

Berniece and her daughter Maretha (Skylar Aleece Smith) live in Uncle Doaker’s (a reserved Samuel L Jackson) home and the piano sits, unplayed, in the living room. Ironically, it’s Boy Willie who talks us – and Maretha – through the piano’s history, including how his grandfather had hand-carved family faces into the front. Maretha was previously clueless as her mother Berniece had chosen to carry the weight of history to herself. The more brother and sister argue, the more activity from the spirits occur – known as ‘Ghost of the Yellow Dog.”

Doaker attempts to keep the peace, while wannabe preacher Avery (Corey Hawkins, THE COLOR PURPLE, 2023) relentlessly woos Berniece. Danielle Deadwyler delivers a remarkable performance as she remains steadfast. With a polar opposite personality to brother Boy Willie, she is a picture of pride and strength, and delivers the film’s best line directed to her brother, “All you ever had going for you in life is talk.” For those who don’t appreciate the stage-to-screen adaptations, the recommendation is to focus on the storytelling, rather than the sometimes distracting staginess. It’s a terrific script and, led by Ms. Deadwyler, the acting is mostly top notch.

Available on Netflix

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Posted by David Ferguson

RITA (2024, Guatemala)

November 22, 2024

Greetings again from the darkness. This would be a tough film to watch even if it wasn’t inspired by true events. Guatemala-born writer-director Jayro Bustamante w-d, Guatemala-born (LA LLORNA, 2019) serves up a fictionalized version of the 2017 tragedy at the Virgen de la Asuncion Safe House where 41 girls burned to death while protesting the abusive environment of the home and actions of the staff. The reality of the story elevates it from “tough to watch” to heartbreaking and anger-inducing.

Thirteen-year-old Rita (newcomer Guiliana Santa Cruz) escaped from a home situation where she and her younger sister were being abused. An incident puts her in the hospital, and from there the authorities escort her to a government-run safe house. It’s basically a quasi-prison facility for troubled kids. The adult caregivers look and act more like guards than guardians. As she re-tells her story, Rita admits upfront that this is her version of how she remembers it. We understand the memories and perception of a young girl may be slightly skewed, and it gives the filmmaker a bit of leeway, while making it more palatable for the viewers.

Fairy tales, fantasy, magic, and mystical beings come into play as Rita is dumped into the facility. Factions exist and are divided into groups called Angels, Stars, Wolves, Rainbows, etc. Rita, though initially hesitant to don the wings, becomes an Angel. The girl leaders in the home include Sulmy (Angela Quevedo) and Bebe (Alejandro Vasquez). It’s unsettling to see what the girls do to make do in the surroundings, and Rita holds firm to her belief that she doesn’t belong there and should be released. Margarita Kenefic plays Social Worker Ernestina with a look that could be a villain straight from a Guillermo Del Toro movie. She is downright creepy.

The girls plan a form of revolution, but sometimes revolutionists are forced into a group pee, followed by group cleanup. The climax involves a planned escape that goes sideways, followed by a harrowing situation that turns tragic thanks to poor decision making by all. Special recognition goes to cinematographer Inti Briones for camera work that adds realism to the odd elements presented here. The film is well made and anything but light-hearted entertainment, although the actual tragedy did (thankfully) lead to reform.

Will stream on Shudder beginning November 22, 2024

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Posted by David Ferguson

CHRISTMAS EVE IN MILLER’S POINT (2024)

November 14, 2024

Greetings again from the darkness. It’s that time of year when we get bombarded with Christmas movies. Some are light-hearted comedies, while others play off the elevated emotions of the holiday season. Most of these seem to be harmless, although some are so lame that we can barely watch. Yet it seems most every year one or two surprise us by packing a punch. Writer-director Tyler Taormina and co-writer Eric Berger re-team after their underappreciated HAM ON RYE (2019) for the most unique Christmas movie we will likely watch this year.

This is certainly no vehicle for movie stars to make an easy buck. In fact, most of the faces won’t be familiar, and that works to the film’s advantage … a shrewd casting move. Based in the 1970’s, a large family Christmas gathering is happening on Long Island, and the little bits of story are captured through the blips of snippets of conversations we catch. This includes discussions about the family matriarch needing to be moved to an assisted living facility and whether or not the family home should be sold. There are secrets and grudges and familiar jokes, along with teenagers trying to look cool … in other words, the same things that happen at most family gatherings plus the added stress of Christmas.

Some of the jigsaw pieces are in the form of a player piano, a pet iguana, an electric train, video games, and a dozing grandma. A few of the men escape to the garage for a cold beer, while one uncle plays the piano and sings a Christmas carol. Another uncle is obsessed with cooking his portion of the family feast and explaining each step to anyone who will listen. Of course, the feast is enough to feed three times the number of people in attendance, and yes, one adult gets stuck at the kids’ table. There are presents opened and home movies that bring back memories – some good, some tear-inducing. Yet another uncle has his book draft read aloud, providing quite the surprise. Those “cool” teenagers do manage to sneak out, and this along with the goofy cops (Michael Cera, Greg Turkington), seem like bits that don’t really fit. The exception is one red-wrapped gift that must be fished out of a dumpster, ultimately providing a touching moment.

Again, most of the cast will not be recognizable, but they handle their characters beautifully. The cast includes Maria Dizzia, Matilda Fleming, Steve Alleva, JoJo Cincinnati, Ben Shenkman, Chris Lazzaro, Tony Savino, Elsie Fisher, as well as a couple of well-known offspring in Sawyer Spielberg and Francesca Scorsese. Cinematographer Carson Lund provides the retro look and feel, with a dose of nostalgia that avoids the customary overdose of sentimentality. The film is more complex than it appears on the surface, and the offbeat flow allows for emotions, love, and chaos – even as Santa rides by on the firetruck. An unconventional soundtrack is filled with 1960’s music rather than Christmas tunes, and that works just fine. The best compliment I can offer is that this feels as much like we are at the party as it does we are watching the party. And that’s impressive.

Showing in select theaters

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Posted by David Ferguson

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