The Grinch

The Holiday Season taunts the miserly Grinch (Benedict Cumberbatch) yet again, its festive goodwill and celebratory merrymaking envisioned as definitive signs of hedonistic excess, unable to distinguish joyous relaxation from essential work undone, he sets out to ruin everything for the dear innocent unsuspecting Whos, their innate playfulness an affront to his cynical brooding, their kindness and sympathy misguided petulance unresolved, barest immaterial austere thrift left in stubborn, jealous mean-spirits, with no one to nurture or provide counsel, he villainously calculates, in the latest stubborn Grinch.

Although it's not as intense as all that, this amusing grinchy manifestation, the new Grinch much less menacing than his animated forefather, much less wicked, much less cruel, even if he pursues the same goals in the end, even if he categorically denies the Holiday Season, his will still grouchy but not cantankerous, his evil existent but not Barad-Dûr.

Esque.

Rather than demonizing the Grinch as purest incarnate evil, this version presents him as more of a comic figure, still in possession of sundry implements of ill-will, still quite disparaging when in the company of others, he also clearly loves his resident companions, and relies on them as would have Scrooge upon nothing.

He bumbles as he broils, stumbles as he strategizes, admits to making bad decisions, perhaps even goes with the flow.

And shares things.

Thus, while the atmosphere of this reimagined Grinch isn't as solemn as that found in the iconic cartoon, it's also much more balanced, and downright cheerful at times, as if everyone involved had adequate resources at their disposal and was not adverse to carolling lightly.

I never saw Jim Carrey's version.

At that time I was angry about the remake.

However, Cindy-Lou Who's (Cameron Seely) Mom (Rashida Jones) is stuck working nights, and rarely has time to sleep after caring for her young family.

They aren't wanting but she's wiped, although the Holidays still regenerate her spirit of loving self-sacrifice.

Whoville itself overflows with seasonal ingenuity and although its ingenious gifts for creating unique means through which to revel aren't showcased as often as I would have liked, there are still moments of aged brilliance, inventive gesticulation seamless and smooth.

The new Grinch film therefore functions like a thoughtful bourgeois paradigm, goods available for all without constant feasting, cultural particularities present but not circumspect, good times waxing at brisk beckoned calls, chillin' and distillin', radioactive heartbeat bliss.

The elation during the film's final moments, the classic ending that wondrously captures the spirit of the Holidays, still rejoices with unrestrained contentment, still abounds with effervescent cheer.

The Grinch may even find himself more sympathetic, even somewhat gracious as he basks in its blithe comforts.

Is it that hard to love generous spirits?

To embrace warmth and friendliness anew?