As a seasoned viewer with a heart full of nostalgia for small-town Ohio movies, I must say that “Nutcrackers” left me feeling a bit underwhelmed and longing for the charm of yesteryears. Having grown up watching Ben Stiller’s comedies, it was a delight to see him back in a leading role, but alas, the storyline didn’t quite live up to my expectations.
The small-town Ohio Christmas setting serves as a backdrop for “Nutcrackers,” another heartwarming ‘fish out of water’ tale directed by David Gordon Green. After taking somewhat tepid stabs at horror franchise films with three “Halloween” movies and one sequel to “The Exorcist,” Green aims to bring some levity with “Nutcrackers.” However, the outcome is a rather mixed bag.
In a shift after seven years, Ben Stiller assumes the main character as Michael, a real estate firm’s development manager based in Chicago. The narrative unfolds as he travels to Ohio for personal matters concerning his family. It is revealed that his sister and her spouse met with a car accident, which resulted in their unfortunate demise. With no other living relatives, Michael must complete necessary paperwork before the four young orphans can be placed with their prospective foster family.
Michael had planned a brief journey since he needed to return to Chicago for a crucial business presentation. However, upon arrival, Gretchen Rice from the Family Services Department met him. She shared that the prospective foster family had changed their mind, and Michael was now responsible for caring for the children until another family could be found. Being a city dweller, he was unaccustomed to this rural lifestyle and was left juggling four boisterous kids on his late sister’s farm.
A significant portion of the film focuses on Michael’s struggles with his four nephews, Justice, Junior, Samuel, and Simon (portrayed by real siblings Homer, Ulysses, and twins Arlo and Atlas Janson), who are 12, 10, and 8 years old respectively. This conflict forms the core of a story that is heavily reliant on cliches, filled with low-brow humor, and steeped in rural stereotypes. Throughout the film, there are numerous jokes about flatulence, farm animals, and an extended, cringe-worthy sex education scene. Despite Green and screenwriter Leland Douglas’s attempts to create an emotional core, it consistently feels insincere.
In my humble opinion, Stiller delivers a performance that exudes a touch of authenticity, skillfully portraying Michael’s gradual internal struggle in a somewhat convincing manner. However, he’s encased within a character arc that is as predictable as a clockwork toy, ticking off each anticipated plot point without fail. Nothing about his journey will leave you guessing or intrigued. It’s a shame, because Cardellini, as always, delivers an outstanding performance. Unfortunately, she’s given very little to work with, which feels like a wasted opportunity for her talent.
In conclusion, the climax of the film abandons its humorous elements and instead aims for an emotional impact that could have touched our hearts if not for the underwhelming build-up leading up to it. It’s clear what the filmmakers intended, and it’s easy to imagine how this approach might have succeeded. However, due to a lack of freshness, overuse of a worn-out template, and uninspiring humor, the movie never manages to capture our emotional engagement.
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2024-12-25 22:56