"She's not happy with the choices in her life and blames everybody. It was fun to jump into the skin of this bitter woman and then into Hope (from TV's "Hope and Gloria"), the most optimistic character I've ever played" - Cynthia Stevenson on her film role versus her TV role

When Jodie Foster attempts something radically different than what we expect from her, it should be interesting. When she opts, as her second directing assignment, to lens what appears to be a mainstream, heart-warming comedy, it shouldn't surprise us. The woman is, in fact, full of surprises and seems fully able to accomplish anything she sets out to do. But Foster has an artist's heart and a filmmaker's eye. Eventually, this grandiose traits totally destroy what she has created here. The first 2/3's of this film is a rather amusing slapstick farce set around a dysfunctional family gathering together for Thanksgiving. The final 1/3 is a insipid romantic fluff piece augmented with a filmmaker's dream sequence that ends the film on a rather puzzling note. After almost making this film a success as a comedy, Foster's artistic inclinations totally destroy her work. The finished product evolves into little more than problematic crap.

Even with it's almost success, the first portion of the film is chock full of problems. It's comedy is either farcical or angst-ridden. Not your typical Holiday fare. When it's farcical, it works on an almost perfect level. Foster's timing and sense of the ridiculous couldn't be more on- target. She does everything perfectly - even when the age-old use of flatulence has to pass for comedy. Foster somehow manages to make even this typical joke hilarious. The film's pacing and plot seem a bit frenetic, but that just makes us pay a little closer attention to what is happening. Still, it can be distracting and confusing at times. And then, towards the end of all this chaotic hijinx, the film dips into "Made for TV' dramatic territory bringing us yet another suffering homosexual character at odds with his familial unit. Yawn. It's tired and boring. Worse, here it is frustrating as well as the abusive member of the family doesn't get her comeuppance, really. Oh sure, karma has it's way with her, but no one ever explains to her the errors of her homophobia. See, the message of the film is that are families are our families and we can never hope to change them. Here, it's love-'em-or-leave-'em. What unamusing and nerve-wrecking nonsense. Who wants that kind of reality in a "Holiday" film?

The rest of the film treads on a rather dull romance that seems like more of a half-baked writers attempt at filler than sub-text. This storyline lies there until the actors involved are forced to try and make it work, even when it's obvious that it's going to be a physical impossibility. Eventually, the film doesn't even have the balls to go for a sappy, happy ending. In the continuing tradition of not being what we expect, want, or need, the film refuses to tie up the loose end here. The proceedings end on a dangling participle.

The final moments of the film are surrealistic, pseudo home movie flashbacks that make no sense to me. Set against the Foster-familiar strains of Mark Isham's melancholy jazz, the sequence is non-verbal and subtle. Of course, it seems totally out of place in this film. It may be that this ending is supposed to act as the calm after the storm, but I still saw no purpose or insight here. Foster certainly doesn't make herself clear. My film-going companion claimed the silent scenes we get here are meant to express each character's idea of "happy memories." Okay, I'll buy that. But Foster just pokes around here. She doesn't give us any real memories or real moments. She doesn't bother to fully explain herself or her intent. These are just grainy images of old lackluster home movies seemingly tacked on the end of a rather bad film. It completes the proceedings on a confusing note. Instead of simply putting the film away, Foster insists on hitting her thumb with a hammer and then making us all watch it throb.

This is an ensemble piece, full of recognizable stars, so I might as well give you a play-by-play on each:

Anne Bancroft plays the matriarch of this dysfunctional unit. She hams it up wonderfully in a dimestore wig that's as frantic as Foster's pacing here. Bancroft, always a delight - even in a turkey, does her best to hold everything together here and she almost succeeds. Eventually, like the children she has supposedly raised, the film abandons her.

Charles Durning is less likable as the father figure. To further accentuate the state of flux all these characters are supposedly in, his blue collar character has recently retired. Durning does his best to ham it up and look confused but he isn't talented enough to pull even this off.

Holly Hunter is the main character. We are forced to watch the entire film through her eyes. Too bad she's a dull nebbish. Whether suffering through the (yawn!) first sexual experience of her teen daughter (Claire Danes in what amounts to a cameo) or the first real romantic relationship of her own in quite some time, Hunter never has a chance to settle down. She is the flux of the film. Foster's chaotic style is personified by her character. Eventually, Hunter gets the crap beat out of her by this film.

Robert Downey Jr. is fun and whimsical as a homosexual. He seemingly ad-libs his way through his early sequences to amazing hilarity. He is the film's real bright spot and we can fully understand why hunter's character chooses him as her familial soul mate. They work wonderfully together. but, eventually, everything goes wrong. The storyline becomes so cruel to Downey's character that it is hard to bare. Like everyone else here, he struggles valiantly against the dreary script only to finally go down for the third time long before his bloated carcass is allowed to leave the screen. It's troubling to watch.

Eventually secondary characters are called in. Dylan McDermott plays the love interest for everyone in the film. He comes across as smug and egotistical. In reality, no one but the most self-hating person would ever hook up with him. The script can't even force it's main character to truly give him a shot. Geraldine Chaplin (Gee, didn't Downey play one of her relatives once) is supposed to be an old lady. She looks like a teenage girl made up for a high school performance of "Arsenic and Old Lace." She's supposed to be looney but Chaplin can't even pull this off. She's like a sane aunt who likes to pretend she's nutty. Steve Guttenberg has his most sombre role in decades. He wisely sits on the sets and keeps his fucking mouth shut. It works for him. Austin Pendleton is credited (as is Danes) even though his appearance is little more than a cameo. It's good to see him. He wisely gets out of the film before the first reel is through running.

If there is anything nice about any of the actors here, it's that Cynthia Stevenson gets cast against type. Oft times called upon to play the perky, skinny girl (her full time job is doing it on TV's "Hope and Gloria") or the long-suffering girlfriend type, Stevenson is cast as a bitch here. Even though her character is hateful and totally disagreeable, it's good to see her cast as a character of this ilk. To no one's surprise, it disquieting to see her used as a comedic punching bag here. It's just a shame that her probable one- shot at not being that "perky girl" had to come in this dog of a film.

Jodie Foster is a remarkable talent. Whether behind the camera or on the screen, she is one of my favorite personalities of all time. One of my most cherished childhood memories is the crush I had on her from watching some "Tom Sawyer" movie I saw in the 70's. As Becky Thatcher, she was strong, attractive and smart. She has proven herself to be all of those things in reality as well. After watching her promising but shaky baby steps in "Little Man Tate" and seeing her fall here, I can hardly wait to see what that beautiful little girl I've loved since I was a boy will do next. Foster, even when she fails, remains a cinematic force to be reckoned with.

Note:

Foster also produces the film. Director of Photography is Lajos Koltai. The script by W.D. Richter is based on a short story by Chris Radant.

Hunter's film "Copycat" was released around the same time as this feature. Bancroft was also in "How to Make an American Quilt" around this time

Other feature films set at Thanksgiving: "Planes, Trains and Automobiles," uhhhhh....

Report Card Script: F Acting: D Cinematography\Lighting: C- Special Effects\Make Up: F Music: C Final Grade: D-

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