Last Christmas presents a literal take on a George Michael classic in the latest film from director Paul Feig. Joining him fresh from the fiery set of Game of Thrones is Emilia Clarke, accompanied by Henry Golding of Crazy Rich Asians fame. In a role that’s not unlike Clarke’s penchant for starring as a bubbly socialite with a reckless past, she’s back this time as as a Christmas shopkeeper’s assistant who’s given up on any aspirations for her life. This is no Richard Curtis holiday romp, if you were wondering.
Kate (Clarke) is plain tragic. She’s tardy at work, often turning up disheveled from couch-surfing at a friend’s the night before. She possesses some musical talent, but does not have the discipline to be serious about the audition process. As her overbearing Eastern European mother Petra (Emma Thompson, with an impressive accent), fusses over her health, Kate looks for any reason to avoid her family over the festive season. As she wallows in a pitiful trance of how her life might have otherwise turned out, she keeps happening upon a bike courier, Tom (Golding) who miraculously and continually appears out of nowhere.
To brush aside the potential MeToo issues that may arise, Kate overtly addresses Tom as a stalker and creep during the uncanny opportunities when he pipes up. Mysterious, kind, and without a mobile phone, he seems to understand the complexities of people and bestow wisdom beyond his 20-something age. Even cynical Kate begins to fall for him, but the cluey viewers will piece together why cannot always be found when she needs him most.
Harbouring a victim complex for a lengthy time gets dull, and Kate’s self-destructive behaviour (while amusing at first) is shown up for what it is. Her vices of binge drinking and casual sex isolate her from her friends and family, and threaten the stability of her job. Tom’s character acts as a mirror to her own behaviour, and by encouraging her to help others she begins to enjoy her life again.
Fans of George Michael’s music will enjoy the film simply for its indulgence of his music, and those nostalgic for a vividly lit Christmas in Covent Garden will feel just as spoiled. Sure, it can be schmaltzy, like an overplayed carol and sometimes serves up a few too many helpings of clichés. The twist may send some viewers crashing back down to Earth, but at the very least, the spirit of a good film is still there.
Verdict: 7.5/10
Universal Pictures Australia
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