Courtesy of IFC Films
Even before the merry opening credits appear in director Tyler Thomas Taormina’s holiday-themed comedy drama, the viewer is met with an odd scene: a wide shot of three vagrants - Jay and Silent Bob types - just standing around a graveyard not knowing what to do with themselves. An inspirational quote about the lost finding their way on Christmas Eve floats above their heads. A few moments later, the screen slowly fades to black and we’re then met with some of the much more prominent characters in this story - who are on their way to the premier Balsano household to celebrate the holiday. This unique and stylistic cold open is definitely foreshadowing what’s to come with Christmas Eve in Miller's Point - which is the most artsy Christmas movie you will ever see.
After dizzying the viewer with a drive through suburbia and taking in all reflections of red and green adorned houses - cinematographer Carlson Lund certainly knows how to make you feel like one of the family. As soon as Kathleen (played by Maria Dizzia), Lenny (played by Ben Shenkman) and their two children step into the generational Long Island family home, a wondrous type of filmmaking magic commences which takes the viewer to the most coziest (albeit, overwhelming) of places. A plethora of 1960s music runs through the air, family members greet our newest arrivals with hugs and kisses like there’s no tomorrow and warm yellow lights from all the indoor decorations start coursing through your veins telling you that this is the place to be for Christmas Eve.
In between all the characters and their stories that are present in this movie (similar to any large family), two prevalent themes seem to stick out the most: the tension hanging between all the older children on what to do with their aging mother’s house and Kathleen’s struggle to connect with her rebellious daughter Emily. Even though both come close, the movie never really lets anything supersede the Christmas Eve main attraction. Family members are full of excitement, catching up with a year’s worth of conversation. Simple dice games play out that are enjoyed by all ages. You can hear the crunch of salami roll ups, smell the simmering ham in the oven and almost reach out and feel the many specialty colored m&ms in the candy dish. Sometimes in an odd slow-motion sense…or the contrast is turned up. The senior relatives fall asleep in their seats while the younger adults surround the piano reminiscing about songs from their past. Along with background tracks from such names like The Ronettes, Ricky Nelson and The Crystals - these mini-stories culminate into a festive fever dream that you simply can’t look away from.
There’s even a sequence where the entire family is suddenly driven mad by the impending Santa parade about to happen outside. Coats are chaotically thrown around and children scream at the top of their lungs from the psychedelic colors right in front of them. Fortunately, these cheery and celebratory montages even take some of the weight off of the awkward acting that’s present when the main adults are on-screen. Some easily mesh with each other while others don’t find their footing. Some go over-the-top with who they are supposed to be while others could lean into their emotions a bit more. Sometimes, it feels like this movie deserves better and that’s where it hurts.
While the first hour of Christmas Eve in Miller's Point was much about setting up the atmosphere and underlying tone of the household, the last forty seven minutes decides to switch gears and focus on Emily (played by Matilda Fleming). Along with Francesca Scorsese’s Michelle (this movie not only stars a Scorsese but a Spielberg too!), the two girls set out to join up with some friends - and some boys from out of town. While seeing some carefree younglings who have no cares in the world is admittedly a nice refresher from potential life-changing news (like your childhood home being sold off), there is a little bit of a problem here too. The younger ensemble brings a sense of believability where the older ones couldn’t but the script stills sounds like a bunch of adults who’ve all had too many glasses of spiked eggnog. There is a juxtaposition to be had - the adults are in the house and the kids are prancing around the neighborhood - but one minute they have crushes and are stealing donuts from a dumpster and the next they are cracking jokes about long-winded political stances. Luckily, that doesn’t last very long. Teenage hijinks then ensue - and on Christmas Eve - anything goes.
While it doesn’t take long for Kathleen to figure out that Emily sneaked out to be with her friends (when she explicitly told her not to), the daughter’s own perspective is worthwhile as it shows innocence and prevalence among changing times. It’s an entirely different world outside the Balsano walls and Fleming and Scorsese are commendable in bringing this balance forward. Whether its laughs to be had while racing through the lightest of snow covered streets or hooking up with your crush in a open field full of heated cars, these sequences are not so much the in-your-face christmas hysterics that were present just some time ago but do bring across that fact that it’s a special night - just in a different way.
Now I do not want to spoil anything since this is definitely a movie you should see but the ending of Christmas Eve in Miller's Point might throw some viewers off. Like aforementioned, Taormina sprinkled this movie with a bit of his arthouse style but the ending is truly that. It’s sad and quiet but it’s also so utterly meaningful and beautiful - you’ll probably have the closing moments loop in your mind for a couple of days afterward.
I will give Christmas Eve in Miller's Point a 3.75 / 5.
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