‘Almost Christmas’: An Unfocused Crescendo Into Brilliant Chaos
Yet another in this month’s series of classic Christmas film reviews, Almost Christmas appears to be another bog-standard family drama where a dysfunctional family comes together during Christmas under the same roof. Arguments ensue, family members trade barbs, and one person has to try and hold it all together whilst grappling with something personal. Writer and director David E. Talbert certainly delivers all of this to varying degrees of success; he does introduce a somewhat unique element in that while all the characters are navigating their own problems, they are all ultimately drawn together by a lingering grief.
Released on Friday, November 11, 2016, and distributed by Universal Pictures, the film boasts an ensemble cast of Danny Glover, Kimberly Elise, Romany Malco, Gabrielle Union, Jessie T. Usher, Mo’Nique, J.B. Smoove, and Omar Epps. The film follows retired automotive engineer Walter Meyers, played by Glover, who is hosting Christmas for his family 10 months after his wife’s passing. He hopes that everyone can get along as they all navigate their respective dramas whilst coping with grief.
The plot actually has a unique structure to it, counting down the five days before Christmas day. It gives the film a sense of impending doom and inevitability as the drama is clearly building to a loud crescendo every single day. It keeps the audience invested to see how each day evolves character relationships, and certain set-ups are paid off fairly well in the final act. Unfortunately, nothing truly distinct happens in each separate day, which makes the structure feel ultimately superfluous in the grand scheme of the film. The character who feels the most inconsequential is Christian, played by Malco, whose subplot about his political campaign and aspirations is predictable and contributes little to the overall story.
This plays into another issue, which is the sheer size of the cast and number of characters. There are frankly too many to keep track of, and the film does not have the runtime to do them all justice. A few too many characters play the role of comic relief, and the only one who truly gets a laugh is Lonnie, played by Smoove. He is consistently enjoyable to watch, and his subplot balances the comedy and drama well. However, his wife Cheryl, played by Elise, feels underdeveloped despite carrying the emotional brunt of the subplot. While the film does a decent job at maintaining a consistent tone, not every comedic bit lands, and at worse, it can undermine some dramatic moments.
But this is only in the days leading up to Christmas day, as once the film reaches its final act, the film lets loose with the comedy and hits hard with the drama. The Christmas dinner is perhaps the film’s standout sequence, where everything comes to a boiling point. It goes from one dramatic moment regarding the house to a hilarious moment of a gun being drawn once secrets are uncovered. Finally, the drama of the situation truly sits in when the family grapples with the news of Evan’s accident and Lonnie’s affair. It makes the entire film worth it, even if everything leading up to it could have done with this scene’s energy.
Speaking of Evan, he is one of the clear standouts in the film. He is played superbly by Jessie T. Usher, who must balance the character’s struggle with his grief and resulting addiction. Not only does he get some great comedic moments, but Usher also clearly portrays the character’s layered feelings, evidently hiding the grief that is clearly brewing at the surface when he returns home. Evan’s final scene in the hospital with his father, letting his emotions loose about his mother, is incredibly well-done and another moment that makes the film truly worth it. It is this moment that allows the film to rise to its contemporaries.
The other actor in the hospital scene who remains consistently great throughout the entire film is of course Danny Glover, who delivers a nuanced and calm performance that holds the entire film together. He excellently portrays Walter’s arc as he fights through his grief in a bid to keep his family together for a pleasant Christmas. Walter manages to overcome it, becoming a reassuring figure to those also grappling with it. But Glover does not overdo it either. He balances the moments of grief with heartwarming moments of love and joy, and his best comedic moment comes during the Christmas dinner, as chaos ensues around him whilst he just sits there disappointed. But Glover excellently switches back to the dramatic when he must support his daughter as she feels the pain of her husband’s infidelity. This is then followed up by the scene in the hospital with Evan, which as mentioned before, is very well-acted from both involved.
Perhaps the only part where the acting falls short is with the children acting. This is no fault of the actors themselves, but more so the script. At times, the kids are given good comedic bits, but when they are part of a heartfelt moment, they suddenly start talking like adults with years of experience. It breaks the immersion. There are also times, especially at the start of the film, where the chemistry between characters feels too forced. The audience understands that they’re a family who love each other, but there are moments, the chemistry between actors isn’t quite strong enough to deliver. This is remedied as the film goes on, especially when the drama and comedy increase.
Overall, Almost Christmas is a decently fun time. The acting is good, and it can sometimes be truly great. The film does struggle to hold interest for its first two acts, but stick through it till the end and the final act will easily make it all feel worth it. It tackles the serious topics with the nuance and attention they deserve, even if it could do with a few less characters to maintain a more consistent and engaging focus. But Almost Christmas is a fun Christmas film regardless.