As a seasoned gamer who has spent countless hours navigating through the labyrinth of movie genres, I must admit that David Gordon Green’s “Nutcrackers” is a refreshing change from the usual studio horror franchises. The film’s return to Green’s indie roots, with its organic characters and rural settings, is reminiscent of his early works like “George Washington” and “All the Real Girls.”
David Gordon Green’s “Nutcrackers” appears to be a sort of rejuvenation process after dealing with the intense studio horror series, as the director moves back towards his independent filmmaking roots. The characters in this heartwarming fish-out-of-water comedy are authentically rooted in their rural or small-town settings and are not forced. This movie explores the unanticipated benefits of discovering a new family, aiming to replicate the realism, poetry, and raw emotion found in Green’s earlier works such as “George Washington” and “All the Real Girls.” However, it falls short with its overly sentimental predictability and lacks the same powerful impact.
The concept originated when Green encountered his old friend’s energetic, youthful sons, who seem to have room for spontaneous acting in Leland Douglas’ script. This lends a genuine feel to the movie that complements Ben Stiller’s tender, subtle portrayal of a rigid Chicagoan unexpectedly cast as a parent. However, the frequent montages and enthusiastic slow-motion scenes emphasize the lack of substantial storyline.
Green openly admits being influenced by movies centered around youth, such as “The Bad News Bears” and “Breaking Away.” He aims to create a narrative devoid of cynicism, where young characters are free from the typical Hollywood polish. Remarkably, he achieves this through the Janson brothers’ natural performances. They thrive in their roles as unruly, self-taught tricksters who manage the household pets and livestock, moving freely between the disorganized home.
In the spirit of a fun fictitious scenario, I’ve decided to rename the Kicklighters as the Jansons. The family consists of Justice, who’s 12 and the eldest (Homer in disguise); followed by Junior, the 10-year-old middle child (Ulysses); and my little friends, the 8-year-old twins, Samuel and Simon, affectionately known as Atlas and Arlo Janson.
One of the movies Green mentions as an influence is “Uncle Buck,” and Stiller’s character Michael plays a role similar to John Candy’s title character in this comedy, albeit with some differences. Unlike Uncle Buck, who was a heavy drinker, Michael isn’t a boozing slob. However, he also doesn’t fit the typical mold of a Stiller character, being neither neurotic nor joyless. Instead, he is a serious real estate developer who drives an ostentatious yellow Porsche and heads to Ohio to sign papers for his nephews’ foster-family placement following their parents’ death in a car accident. But things don’t go as planned.
As a thrill-seeker sneaking into an amusement park under the cover of night, I’m the one who secretly tinkers with a ride and sets it in motion, unaware that a security guard is about to discover our little adventure. In a flash, we dart across a field, our hearts pounding with exhilaration as we leap into the air. However, the joy is short-lived when I receive a hefty bill for the damages we’ve caused, along with an overdue rent notice from my sister’s ballet studio – a place that holds deep memories of our late mother. To make matters worse, family services agent Gretchen (played by Linda Cardellini) delivers the disappointing news that potential foster parents for the boys have withdrawn their interest.
Michael, often referred to as Mike by his siblings upon their eventual decision to engage with him, finds himself in an unpleasant predicament: babysitting four wild children rather than being in Chicago to wrap up a significant real estate deal he’s devoted six years to. He’s unfamiliar with them, and it appears their only knowledge of him is their mother’s claim that he’s incapable of love.
The Kicklighter brothers form a lively and unified group, managing to stay closely connected despite Justice occasionally seeking solitude and harboring feelings for Mia, a girl from his dance class. Apart from the oldest brother, they all have long golden hair, which adds an otherworldly charm to them, in stark contrast to their insatiable urge for mischief that keeps everyone on their toes.
As an ardent admirer, I’ve noticed that despite not being professional actors, the Jansons sometimes speak in a way that can blur their words. However, they more than compensate for this with their genuine connection to the film’s universe and their profound bond as real siblings, often speaking simultaneously.
Douglas’ script smoothly unfolds the potential of two prospective parents, portrayed by Toby Huss and Edi Patterson, showing initial interest in adopting the brothers. However, since this genre of heartwarming comedy follows a well-established pattern, it’s evident from the beginning that Uncle Mike will eventually soften up and assume his predestined role as a surrogate father. The filmmakers effectively manage to avoid overusing the predictable elements, and the subtle suggestions of a blossoming romance between Gretchen are tastefully handled.
In a heartfelt and poignant manner, it’s captivating to see how Michael’s barriers crumble, orchestrated by the boys’ unique rendition of “The Nutcracker’s Mustache,” their daring adaptation of Tchaikovsky’s ballet in our quaint little town. This performance also subtly honors our departed parents, echoing a bittersweet tune of loss that is often left untouched. As a fan, I find this blend of resilience, creativity, and melancholy incredibly moving.
It’s possible that the script doesn’t heavily focus on the brothers’ grief, instead preferring to highlight Michael’s emotional transformation. This is perhaps because the cold, emotionless world of real estate seems devoid of such an organ as a heart. As he recalls delightful childhood moments spent with his younger sister, he begins to reconnect with parts of himself and her that he had stored away.
For those open to following Green’s easygoing rhythm, Nutcrackers, while not traditionally robust among uplifting family comedies, offers a touching emotional reward.
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2024-09-06 08:55