The prosaic anti-escapism of this sprawling American indie thoroughly subverts the expectations of the festive family movie. Christmas Eve in Miller’s Point is a mosaic portrait of an extended Italian American family gathered for their traditional seasonal celebration in Long Island. This may be the last year they do so: the suburban home of the ailing family matriarch is to be sold. Food is consumed, booze is swigged and the uncles bicker.
Director Tyler Taormina (Ham on Rye) strings together a picture that seems to be 80% composed of establishing shots of tinsel and festive tat, punctuated by micro non-events and meandering conversations. It’s almost radical in its banality, capturing rather effectively the overstuffed inertia of a family Christmas and the simmering generational tensions. But Taormina’s all vibes, no story approach tests the patience.
It isn’t entirely without merit, and the director certainly has a distinctive voice. However, I can’t help but wonder if some of the attention lavished on this film, which premiered at Cannes earlier this year, might be thanks to the presence of a Scorsese (Martin’s daughter, Francesca) and a Spielberg (Steven’s son, Sawyer) in the supporting cast.
In UK and Irish cinemas
