‘The Baltimorons’ Review: Jay Duplass Delivers a Real Christmas Gift With a Warm and Witty Romance

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Wow, we could go down 34th Street,” Cliff (Michael Strassner) points out to Didi (Liz Larsen), as they head towards a Christmas Eve party in “The Balitmorons.” This street seems appealing to him due to its connection with the holiday. However, Didi remains unaffected, suggesting an alternative route. Director Jay Duplass skillfully navigates this divide to create a delightful yet poignant comedy. The film follows two individuals who are adrift in life, finding solace in each other amidst the loneliest of family gatherings on Christmas Eve. With potential to become a classic holiday movie, it portrays these lost souls discovering companionship and warmth in one another.

Cliff and Didi find themselves in a tough situation: Cliff injured his tooth while on his way to Brittany’s (Olivia Luccardi) family home, making it necessary for him to seek help from a dentist during the holidays. Coincidentally, Didi, who is one of the few dentists available at this time, seems more inclined to work rather than spend her evening with her ex-husband Brian Mendes and his new wife Mary Catherine Garrison, as their daughter Shelby (Jessie Cohen) has invited them. After Cliff listens in on Didi’s plans to spend her favorite night of the year alone and finds his car towed from her office, it becomes apparent that they’ll be spending more time together.

It’s worth noting that Cliff has spent years improvising as a comedian, which comes in handy for him in “The Baltimorons.” The improviser’s rule of “Yes, and…” plays a significant role in the narrative, as it leads to unexpected events for both Cliff and Didi. However, their spontaneity has waned over time due to personal issues. Cliff was discouraged from pursuing improv by his girlfriend after it triggered problems with substance abuse and suicidal thoughts. As for Didi, she’s become cautious following numerous disappointments at the hands of others. Despite their differences, they find themselves asking questions that they seldom receive from their immediate circles. Trust is a concern for them, and the film reaches a heartfelt climax at an impromptu comedy club where they must rely on trust to perform a routine together.

It’s been more than ten years since Duplass last directed a feature film (“Cyrus”), and this is his first time sitting in the director’s chair without his brother Mark. However, “The Baltimorons” brings to mind how the duo initially made their mark, with a keen sense for developing robust characters as the backbone of humor. It’s no wonder he collaborated with lead Strassner, who not only delivers an energetic performance as Cliff but also co-wrote the screenplay, drawing from his own personal experiences. The emotions feel genuine, even when they are amplified for comedic effect. Strassner and Larsen share a palpable chemistry, with Strassner embodying Cliff’s chaotic energy, and Larsen exuding a wisdom gained through experience as Didi, despite her internal struggles about the direction of their relationship.

Despite being uncommon for a movie to explicitly reference the COVID-19 pandemic, “The Baltimorons” manages to seem outdated with its gritty ’70s visual style, which gives cinematographer Jonathan Bregel the opportunity to strategically use dramatic zooms at key moments. The score by Jordan Seigel has a jazzy feel that’s influenced by Vince Guaraldi, and the piano often takes center stage, but it develops its own unique sound as it reinterprets various holiday tunes. Notably, Duplass creates a film where it’s the characters themselves who make Christmas memorable, rather than relying on typical genre elements. In this aspect, “The Baltimorons” has something to be proud of.

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2025-03-13 01:47