The Stone family immediately (and, we are supposed to believe, justifiably) hates Meredith, because she works for—gasp!—a corporation, enjoys eating in nice restaurants, and is a bit stiff with the Stones when Everett first introduces them.
In fact, within 15 minutes of meeting her, this open-minded, tolerant clan is begging Everett not to marry her. Interestingly enough, for such a left-minded film, most of the qualities used to paint Meredith in a negative light are traditionally masculine qualities—i.e., she’s career-driven, decisive and gets tough with employees in order to get results. It seems writer/director Thomas Bezucha took into consideration the sensibilities of every Democratic lobbying group, except the feminists.
Abandoning their pacifist principles, the family declares open season on Meredith, haranguing her for questioning the existence of the gay gene and barking at her to stop talking when she sincerely questions the morality of desiring gay children. Like some kind of New England hippie gang, they jump her by taking turns verbally beating her down.
But not to worry: if Meredith can learn to let her “freak flag fly,” as brother Ben advises, then—oh, lucky her—she too may finally get to be a member of this heartless clan.
Perhaps on some level, Bezucha realized how mean-spirited and hypocritical the Stones would come across. This might account for why he weaves in hokey plot turns that would only be underdeveloped in a sitcom.
After brief walks in the snow, characters fall so desperately in love they have to chase each other down at bus depots and beg each other not to go. And a distracting and unnecessary subplot, in which one character reveals she has cancer, seems to be present for no other purpose than to generate sympathy for a family that is otherwise completely lacking it. Too bad for Bezucha, the Stones come off like self-important jerks in spite of the disease.
As far as the acting goes, everyone except Mulroney turns in technically good performances. Yet Keaton’s gives off a repelling lack of insight. She relishes her slash-and-burn tirades so thoroughly, so you get the feeling that, despite her character’s horrifically graceless behavior, she’s under the impression she’s playing an appealing woman.
The only reason any major critic could applaud this film (and I’ve been stunned at how many have) is if they personally approve of its politics. Otherwise, with the exception of a smattering of genuine laughs, The Family Stone is a schlocky, manipulative bore.