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Let us now sing the praises of a family member whom we affectionately refer to as the auntie. She is a specific type of influential character, similar to the uncle, but unlike uncles, aunties do not fall into any specific subcategories of influence. When it comes to aunties, there’s only one type, and she’s the same regardless of whether you call her “ta” or “anty” or just by her name. She can be an ally, using the sibling card to her advantage while advocating on your behalf with your parents. But she can also wield the hammer of discipline with greater force than your parents ever could, knocking you out of your stupor with an unforgettable amount of common sense when you get off track. She accomplishes these feats with an indefatigable, take-no-prisoners attitude that is peppered with a bawdy, impolite sense of humor, among other attributes. Those of us who have aunts recognize that we are fortunate to have them and that we are better people as a result.
“Almost Christmas,” a novel by David E. Talbert, contains an auntie character, and the novel is enhanced as a result of her presence. Mo’Nique, an Academy Award-winning actress and comedian, plays the role of her. Mo’Nique was a primary source of the wisdom we associate with our aunts during her stand-up comedy days, which makes her portrayal of Aunt May a perfect fit for the role. Aunt May is unapologetically ostentatious, donning an endless array of costumes and wigs acquired during her years as a backup singer for every imaginable soul superstar. In “Almost Christmas,” she floats through the plotlines, which are often predictable, at times acting as an instigator and at other times serving as a blunt sideline commentary. Every appearance is a comic delight, ensuring that the audience will laugh or smile. As a result of Aunt May’s delectable presence, the audience watches with bated breath to see if she will behave in the manner that we would expect of an auntie. And she does so on a consistent basis; her consistency is the warmest kind of comfort.
Aunt May is the sister-in-law of Walter Meyers (Danny Glover, who appears to be in poor health, prompting Mo’Nique to appear to break character to make a comment about it). With a nod to Pixar’s “Up,” “Almost Christmas” gets things started. Our journey with Walter and Grace begins in the earliest days of their marriage, continues through several children (including an unexpected final son conceived in their 40s), and finally culminates in Grace’s death. The film is scored to The Four Tops’ soul classic “Ain’t No Woman (Like the One I Got).” These two short films serve as a nice example of director Talbert’s foreshadowing, as they contain examples of everything he will do throughout the film, right down to the eerily beautiful beams of sunlight that frequently accompany the Meyers’ youngest son whenever the latter is close to a window in his parents’ house.
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That youngest son (Jesse T. Usher) has the potential to become a major league sports superstar, but to his older siblings, he’ll always be the little, annoying younger brother who causes them so much grief and heartache. Walter’s family is completed by a politician (Romany Malco) who is running for office under increasingly shady circumstances, as well as two sisters who can’t stand the thought of being in the same room with one another (Gabrielle Union and Kimberly Elise). They are bringing a variety of significant others as well as their children to the first Christmas celebration since their mother’s death in November. It takes nothing from Walter to have five days where the family can get along without the stabilizing influence of their mother. However, as films such as “Soul Food,” “Home for the Holidays,” and “The Best Man” have demonstrated in the past, Walter’s wish will not be as easily granted as he would hope.
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There are enough subplots in this thing to fill a couple of Robert Altman films, which is saying something. Despite the fact that this jumble of storylines never ventures beyond the familiar, it is a well-acted and entertaining jumble all the same. In addition, there’s the acrimonious relationship between Union and her high school crush/next-door neighbor (Omar Epps), the wandering eye of J.B. Smoove’s goofy subcategory of uncle (who happens to be married to Elise), Usher’s potential betrayal of his late mother’s memory, and the huge secret Walter is keeping from his family.
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Every one of these stories culminates in massive moments of high drama, all of which take place in front of the Meyers children’s next generation of children. These newest additions to the holiday children’s table are a tech-savvy assortment of characters who record everything on their phones as they interact with the audience. They say that children are our future, and judging by the actions of these crumbsnatchers, that future will be made instantly available for consumption by the general public on demand. As soon as one of the kids gives a shout-out to the infamous website Worldstar Hip-Hop after recording an especially embarrassing bit of family business, I was completely sold on this film.
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When it comes to “Almost Christmas,” it is the committed performances by the cast of talented actors that elevate it above complaints about its familiarity and melodrama. Kimberly Elise is a remarkable actress who is equally adept at dealing with intense drama and broad comedy in the same scene. After all, she’s a veteran of Tyler Perry’s Madea movies, which, incidentally, feature an auntie character who may be a tad too auntie for her own good in one of the episodes. The romance between Gabrielle Union and Omar Epps is a highlight of their story. And, as the only two “grown-ups” in the film, Glover and Mo’Nique bring a welcome level of maturity to the proceedings, despite the fact that they act like complete and utter fools. In their final scene together, the two of them share a beautifully rendered moment of quiet, mature introspection, which they both perform with unmistakable grace.
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When it comes to films like “Almost Christmas,” I have my doubts about their financial viability because I believe that “why would I go to a movie about a dysfunctional family holiday when I can see my own version for free?” Perhaps what draws audiences to films like this is the sense of empathy that Roger always talked about when describing what movies are and what they should be. Although the people onscreen may or may not look like us, we can find some measure of relatability and understanding in their comic mishaps and tragic circumstances. Or perhaps it is simply a desire for a pleasant diversion from all of the real-life misery that we are subjected to. However, we require more understanding and connection with one another than ever before, and if a pleasant diversion like “Almost Christmas” can accomplish this for an audience, its minor flaws are easily overlooked.
For more personality quizzes check this: How To Be Single Quiz.
