“The Baltimorons” Review
Director: Jay Duplass Screenwriter: Jay Duplass, Michael Strassner Cast: Michael Strassner, Liz Larsen, Olivia Luccardi Distributor: IFC Running Time: 101 min. MPAA: R
The Baltimorons is a Christmas dramedy that feels more genuine, never too melodramatic or morose about the holiday. Yet there’s still a bit of magic to how this unorthodox film finds its nuggets of joy amid a chaotic Christmas Eve adventure, where a lonely soul seems to be one heartfelt act away from showing some compassion. In the same way that adults grow more accustomed to socks as a holiday gift, sometimes the best present is getting a ride home or finding a reason to live another day.
It’s easy to care for the central character of Cliff (Michael Strassner), a former alcoholic comedian who almost killed himself after an act of drunk driving. After six months of sobriety, he seems to be holding together well, going so far as to swear off stand-up comedy for the association with drinking. Although preparing himself for a Christmas with his girlfriend, an accident forces him to make an emergency visit to a dentist, and the only one working on Christmas Eve is workaholic Didi (Liz Larsen). When transportation issues arise, Cliff relies on his innocent charm to coax Didi into giving him a lift, prompting an adventure revealing plenty about their troubled lives.
Armed with the familiar yet soothing sounds of Vince Guaraldi’s iconic Christmas score, the chemistry between Cliff and Didi is comforting and earnest. Christmas in Baltimore isn’t portrayed as some whimsical holiday experience, but as a cold, slushy city that dares you to find the heart amid the season. Cliff takes on this challenge with his casual wisecracking amid a dental procedure and his ability to convince Didi to try some of his food, no matter how silly he looks while making his case. There’s an ease to him that makes it easy for someone like Didi to rescue his towed truck and bring him over to her divorced family’s holiday party.
The film is sure to draw some easy comparisons to The Holdovers for centering on a similar scenario of lonely souls finding each other on Christmas. It also veers into darker territory with how Cliff addresses aspects of not only alcoholism, but also suicide and past family trauma. He presents himself not as a curmudgeon in need of Christmas cheer, but a chipper figure who needs to address his demons. I’m reminded of how Robin Williams would say that the most damaged people can be the most eccentric and pleasing, because they never want others to feel the same pain they’ve endured. Cliff operates similarly, making it almost impossible to crack his boisterous exterior. The way Cliff slowly comes out of his shell, not only to return to stand-up but also to be more honest about his conception of death, makes him such an enduring character. At the same time, Didi becomes just as lovable for her rigid presentation melting away with someone as warm as Cliff around, making her a worthy improv actor for when he finally gets back on stage.
Between the common catharsis and cheerful crystallization of the Christmas season, The Baltimorons feels familiar yet refreshing at the same time. You’ve likely seen this story before, with a sense of deja vu in its components, but there’s a comfort in how easily it works its magic, making you care about a suicidal comedian and a lonely dentist. Can they make it work when the darkness of winter has passed? Who knows. All that matters is getting through another holiday with someone who cares enough about you to save your improv routine or make your family gathering less awkward. For some, that’s the best present you can get for Christmas.
