The Ghosts of Christmases Yet to Come (and the Ones Currently Happening)
There's a peculiar kind of dread that settles in around mid-November, a low hum of expectation mixed with the very real possibility that this year, everything will go wrong. Not tragically wrong, mind you, but sitcom-level wrong. The turkey will be dry, the tree will lean precariously, and someone will inevitably bring up politics at the dinner table. It’s the ghost of Christmases yet to come, whispering promises of imperfection. And in 'Oh. What. Fun.', that ghost takes center stage, wearing an ugly Christmas sweater and wielding a passive-aggressive comment like a weapon.
Clauster-Phobia
The film opens with Claire Clauster (Michelle Pfeiffer), a woman whose dedication to the holidays borders on obsessive. She's the architect of Christmas cheer in her Texas home, meticulously planning every detail, from the themed dance show tickets to the strategically placed mistletoe. Her family, a collection of lovable but frustrating archetypes, seems largely oblivious to her efforts. There's Channing (Felicity Jones), the married daughter grappling with her own evolving holiday traditions; Taylor (Chloë Grace Moretz), the commitment-phobic lesbian with a revolving door of girlfriends; and Sammy (Dominic Sessa), the perpetually heartbroken slacker. Denis Leary plays Nick, Claire's husband, a well-meaning but ultimately clueless patriarch who seems more interested in the Cowboys game than his wife's emotional needs.
The Clauster household is a pressure cooker of familial expectations and simmering resentments. Claire yearns for validation, specifically a nomination for the “Best Holiday Mom” contest, a chance to meet her idol, the talk show host Zazzy Tims (a brilliant, if brief, cameo). But her hints are met with blank stares and requests for more eggnog. The film excels in capturing the claustrophobic feeling of being trapped in a family dynamic, where unspoken grievances and decades-old patterns play out with predictable regularity. The scene where the family forgets to take Claire to the dance show, the tickets she meticulously secured, is a masterclass in comedic cruelty. Pfeiffer's face, a mask of barely suppressed disappointment, speaks volumes. It's a small moment, but it's the catalyst for everything that follows.
The Great Texas Escape
And what follows is Claire's impromptu escape. After a disastrous trip to the mall that involves her shoplifting a giant candle (a wonderfully absurd detail) and narrowly avoiding mall security, Claire reaches her breaking point. She packs a bag, leaves a vague note, and drives off into the Texas night. This is where the film shifts gears, transforming from a family comedy into a road-trip adventure. Claire's journey is not just a physical one, but an emotional one as well. She's searching for something more than just a break from her family; she's searching for a sense of self, a reminder that she's more than just a wife and mother.
Her unlikely travel companion is Morgan, a delivery driver she meets at a dingy motel. Their brief but meaningful interaction highlights the film's underlying theme: the importance of human connection, even with strangers. The purchase of the beat-up AMC Pacer, the getaway car of every middle-aged rebellion, is a visual representation of Claire's newfound freedom. The scene where she drives down the highway, singing along to a cheesy pop song, is pure catharsis.
Christmas as a Pressure Cooker
Christmas in 'Oh. What. Fun.' isn't just a backdrop; it's a force. It's the pressure cooker that brings all the simmering resentments to a boil. It's the expectation of perfection that drives Claire to the brink. It's the cultural weight of family traditions that stifles individuality. The film cleverly uses the holiday as a magnifying glass, amplifying the existing tensions within the Clauster family. The Christmas Eve dinner scene, a cacophony of arguments and awkward silences, is a perfect example of this. The siblings bicker about their life choices, Doug spills Taylor's secrets, and DJ Sweatpants, the aforementioned girlfriend, realizes she's stepped into a minefield of unresolved issues. It's a far cry from the idyllic Christmas dinner depicted in holiday cards, but it feels undeniably real.
The Viral Holiday Mom
Of course, no modern Christmas movie is complete without a touch of social media satire. Claire's gatecrashing of Zazzy Tims' show goes viral, turning her into an overnight sensation. The internet, as it often does, latches onto her story, transforming her into a symbol of the underappreciated holiday mom. While the film doesn't delve too deeply into the complexities of internet fame, it does use it as a plot device to bring the Clauster family back together. The reunion on Zazzy's show is predictably heartwarming, but it's also earned. Claire and her children have a genuine heart-to-heart, acknowledging their past mistakes and promising to do better in the future.
The film doesn't shy away from the messy realities of family life. Sammy's rejection of Mae-Bell, despite her attempts at reconciliation, is a refreshing dose of realism. Not every relationship can be salvaged, and sometimes, the best thing to do is move on. The ending, which sees the Clausters and the Wang-Wassermans (the neighbors, previously only seen as rivals) on a ski trip together, suggests a newfound sense of community and acceptance. Claire, finally relaxed and surrounded by her loved ones, has found a way to navigate the chaos of the holidays without losing herself in the process.
Undeniably a Christmas Movie
'Oh. What. Fun.' is undeniably a Christmas movie. It ticks all the boxes: Christmas theme, family drama, a touch of magic, and a heartwarming resolution. But it's more than just a formulaic holiday film. It's a witty and insightful exploration of family dynamics, the pressure of expectations, and the importance of self-discovery. It understands that Christmas isn't always about perfection; sometimes, it's about embracing the chaos and finding joy in the unexpected.
Barrel of Laughs
The final image of Claire, soaking in a barrel-shaped hot tub as her family prepares dinner, is a perfect encapsulation of the film's message: sometimes, the best way to survive the holidays is to simply relax and let go. And maybe, just maybe, steal a giant candle along the way.
