The idea here is that our central characters (including all of the above, plus one guy who breaks his own hand so he can relive his Best Christmas Ever as he did as a kid in the E.R.) have problems. You know, New Yorker problems: Walker is a jealous cop (and Cruz is his flirtatious girlfriend), and Sarandon's geriatric mother is an a sort of dazed funk -- just staring at the walls, refusing to eat. Sarandon is the centerpiece of the film: She's a mopey creature who's faced endless disaster in her life (a stillborn baby, even), but she's trying to keep up appearances.
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