Family holidays are difficult for everyone, and the stress is compounded if someone is bringing in a new girlfriend or fiance. Writer-director Thomas Bezucha, The Family Stone, is a humorous family drama that presents a tight-knit family, and arduousness it takes to squeeze yourself in. Sarah Jessica Parker headlines a cast of recognizable names, in her first role after Sex and the City, and tries to erase any trace of Carrie Bradshaw with her portrayal of Meredith Morton.

Meredith Morton is an uptight, anally-retentive fussbudget, who has annoying quirks and an unfortunate tendency to come off as priggish and judgmental. She is enganged to Everett Stone (Dermont Mulroney, My Best Friend’s Wedding), a handsome man who is the golden child of the Stone family. He takes Meredith home to meet his family, who behave with a ferocity the Corleones would balk at. The family is eccentric and fussy, and though they insist they’re liberal and tolerant, each member views Meredith with undisguised contempt. The matriarch, Sybil (Diane Keaton, Something’s Gotta Give), is the head of the household, and rules her roost like a slightly demented hen. Her husband, Kelly (Craig T. Nelson, Coach), is generably likable, and defers often to his domineering wife. Everett’s the oldest of five kids that include Susannah (Elizabeth Reaser, The Believer), Amy (Rachel McAdams, Mean Girls), Thad (Tyrone Giordano, A Lot Like Love) and Ben (Luke Wilson, Legally Blonde).

Ben, the endearing slacker is the only one of the clan that manages to see through Meredith’s defensive facade. The two seem to have a connection, though despite her best intentions, she cannot seem to break through the other folks (though often the lack of camaderie is her fault). Meredith’s type-A personality is exemplified by her physical appearence: gone are the crazily eclectic outfits that we’re used to seeing on Parker; instead she’s dressed in solemn black suits, and her hair is scraped back into a severe bun. She sticks out among the warm sweaters and lumpy cardigans that the Stones wrap themselves into.

Meredith needs an ally on her side, so she enlists the aide of her sister, Julie (Claire Danes), who is embraced by the Stone family without reservation. Julie is everything Meredith isn’t, and her easy-going nature, and ability to converse with ease scores her points with the family.

Bezucha crafts a script that goes through some well-worn cliches of “home for the holidays” films — the kookiness that he showers the family upon does seem a little pat. He also throws in a lot for the family to work with: brother Thad is not only gay but deaf as well. His deafness is a non-issue in the film, and to the screenwriter’s credit, he normalizes it into the script quite naturally. Sybil has a major plot twist of her own, that the audience learns of late in the film — it’s handled surprisingly well.

There is one scene in particular that Bezucha pens that is excellent. Meredith inadverdently offends the family by making some vaguly homophobic remark, that becomes increasingly offensive as she tries to explain herself. The Stones react, for once, without the artifice of being a “happy family” and despite their massive dysfunctions, show themselves as a supportive and loyal brood (especially Sybil). The scene initially is very uncomfortable to watch, not only because of the obvious hurt that Thad feels, but also because of the slippery way Meredith tries to navigate her way through her prejudices without success. There is a satisfying payoff at the culmination.

The cast members, for the most part, do good work, though there are a few clunkers in the pack, starting with Mulroney. Never a very impressive actor,  he nonetheless fades into the background, whenever he’s next to, well, anyone. Reaser as the eldest Stone daughter also doesn’t really make much of an impression. As Thad’s partner, Brian J. White (Daddy’s Little Girls) does what he can in a role that’s awfully thin.

Nelson, who is seen far too sporadically in film gives a solid and warm performance, and remains an impressive presence. McAdams again proves that she is Hollywoods strongest starlet ingenue, playing the bitchily hostile Amy full-tilt. Wilson also is good, and, though he may not have Mulroney’s GQ looks, he’s far more attractive because he’s laden with personality.

The two stars of the film: Parker and Keaton both outshine the cast, though. Parker, excorcizing Carrie Bradshaw forever, using her now-patented neurotic female nebbish character, but to a much-less adorable degree than ever before. She employs this disturbing, but hilarious, habit of clearing her throat, which drives McAdams’ Amy crazy. Keaton is the best of all, imbuing the script with an intelligence and warmth, despite being cast as the aggressively protective mother. There is no other comedienne working today that can combine the tragic pathos with the hilarious slapstick the film has her character mine through. While Keaton and company make for a hideously unappealing family to visit in real life, on celluloid, they’re just fine.

The above author's byline must be attached to the work if being distributed.