In a time where an opulent ice-Queen with a penchant for show-tunes threatens to dominate the holiday box-office, Universal Pictures’ modestly grim and surprisingly sweet reboot of The Addams Family stands out across a slew of family-friendly movies like a goth student in a school class photo.
Directors Conrad Vernon and Greg Tiernan, of Sausage Party fame, bring the Addams family and their twisted sense of humour out of the crypt and into the twenty-first century.
The film follows the Addams’ and their contact with a neighbouring town, known as Assimilation, who are hell-bent on removing the supernatural family from their perfectly manicured community. The figurehead of Assimilation is a ruthless interior designer named Margaux, portrayed with devilish moxie by Allison Janney. The ‘humans being bigger monsters than the actual monsters’ yada-yada is a trope as old as Dracula, but does not prove a downer on The Addams Family due to the film’s well-natured intentions.
Running in tandem to the central story are side-plots involving the Addams children; both Wednesday (a wonderfully macabre Chloë Grace Moretz) and Pugsley (no stranger to strange things Finn Wolfhard) tackling separate coming-of-age issues.
Wednesday’s desire to expand her horizons outside of her haunted residence disappoint her mother Morticia (Charlize Theron), who fears her daughter will be targeted by humans as a monster the same way she had been. On the other hand, Gomez (Oscar Isaac) helps Pugsley prepare for his upcoming Mazurka, a ceremony of sorts that will propel the boy into adulthood.
The film does a solid job converging all stories, though follows a trend from a studio that continues to develop episodic-like narratives in their family films (see A Secret Life of Pets 2). It is a trend that borders on becoming convoluted and perhaps better suited to an opt-out platform like Netflix. Vernon and Tiernan do fall guilty of introducing underdeveloped points, including the harmful effects of social media and bullying, and end up half-heartedly abandoning these notions in favour of balancing side-plots. The result skims from both stories so they may both co-exist in the film’s scant runtime.
The filmmakers are conscious of the adults in the room and pepper The Addams Family with a continuous stream of light-hearted quips that play to the family’s obliviousness. The film’s efforts to balance out deeper themes – concerning growing-up and celebrating individuality – with amusing gaffes, strikes the right tonal balance for a film with a family-friendly, finger-snapping sitcom history. This comedic responsibility extends to the tremendous cast of supporting actors, including Nick Kroll, Bette Midler, Jenifer Lewis and Tituss Burgess.
Despite a history of live-action film, sitcom and 2D animated adaptations, there is an inherent freshness with The Addams Family’s introduction into the CG world. Giant trees, a murderous house, a playful pet lion: all of which come to life with eerie thrill while remaining faithful in style to the source material.
Yes, the film does bear a striking resemblance to the work of Genndy Tartakovsky a la Hotel Transylvania. Not just in visual style but in themes regarding belonging and embracing difference. Regardless, The Addams Family upholds the legacy of an endearing property with distinction and ought to inspire a renaissance in CG adaptations of spooky IP (looking at you Casper).