The Janson brothers—Homer, Ulysses, Atlas, and Arlo—are undoubtedly charming and well-behaved off-screen, a crucial factor for any responsible director casting them. However, the characters they portray in director David Gordon Green’s unconventional Toronto Film Festival opener, “Nutcrackers,” are a different story. These unruly orphans, living like a feral pack, rely on their rigid uncle, Michael Maxwell (Ben Stiller), to avoid being sent to an orphanage after a tragic car accident claims their parents.
Arriving at his late sister’s rural home in a flashy yellow Porsche, Michael, a city slicker, immediately faces the reality of country life by stepping in fresh manure. With Christmas approaching, Michael’s brief visit is focused on settling the estate and finding a family to adopt the Kicklighter boys before he returns to his high-stakes real estate job in Chicago.
During their first night at the Kicklighter farmhouse, Michael encounters the brothers—Homer, who has a soulful, innocent demeanor, and his rougher siblings, Junior, Samuel, and Simon—causing friction right from the start. Homer’s earnest performance suggests potential for a future in acting, especially alongside his real-life siblings, which adds a layer of authenticity to their antics.
The film introduces a serious conflict when Justice, the eldest Janson brother, accuses his uncle of being incapable of love, setting the stage for Michael’s journey to prove him wrong. For those eager to see Stiller’s character redeem himself, “Nutcrackers” offers a festive and heartwarming surprise. However, more skeptical viewers might see it as a nostalgic project for Green, a filmmaker who has shifted from classic horror reboots to celebrating the charming films of his youth, like “Six Pack” and “Kidco.”
The shift from rebellious young characters to more sanitized portrayals in cinema can be attributed in part to Steven Spielberg’s influence. Films like “E.T.” and “The Goonies” provided thrilling adventures while subtly shaping young audiences’ behavior, eventually overshadowing the more unruly portrayals seen in earlier films like “Paper Moon.”
Green’s decision to film “Nutcrackers” on 35mm seems to be an attempt to reconnect with a time when movies embraced wilder, more free-spirited child characters. Despite this, the film’s result is closer to the sentimental tone of Cameron Crowe’s “We Bought a Zoo” than to the rebellious spirit of “The Bad News Bears.”
As Michael begins to adjust to farm life, including dealing with mud and animals, the film shows his rapid growth through a series of encounters with potential adoptive solutions, including the eccentric Aloysius Wilmington and the pragmatic Rose.
Despite the humorous mishaps, like Michael’s awkward attempts at sex education, the film doesn’t convincingly present Michael as the ideal guardian. His lack of experience with parenting and farm life is evident, and the additional responsibility of caring for numerous animals complicates the situation further.
The film’s title, “Nutcrackers,” refers to the Christmas performance the boys had been preparing with their mother, a local dance instructor. Michael’s decision to help stage the revamped version of “The Nutcracker” becomes a central element, although the film would benefit from a deeper exploration of the emotional repercussion of their loss. Reflecting on Green’s earlier works, such as “George Washington” and “All the Real Girls,” it’s evident that he understands loss well. Here, however, he focuses more on the gains of familial unity.