Judy Greer in Holiday Movie

In Dallas Jenkins’ The Best Christmas Pageant Ever, a group of kids wreak daily havoc on Emmanuel, a small town somewhere in America. The Herdmans, according to the narrator (Lauren Graham) of this uneven tale, are “the worst kids in the history of the world” — a title earned by Ralph (Mason D. Nelligan), Leroy (Ewan Wood), Claude (Matthew Lamb), Ollie (Essek Moore), Gladys (Kynlee Heiman) and Imogen (Beatrice Schneider) through a host of shenanigans ranging from personally offensive to downright harmful. 

A nifty montage at the beginning of the holiday feature shows the Herdmans bullying kids and adults with impunity; taking the Lord’s name in vain; smoking cigars; stealing from local businesses and even setting fire to a dilapidated shed. Because of their repugnant behavior, residents of the community hardly believed the Herdmans were “real,” says the narrator. “No one knew why they were that way.” And it appears that few people — including, at times, includes the filmmakers — sincerely want to find out. 

Based on the 1972 children’s book by Barbara Robinson, The Best Christmas Pageant Ever is a classic American tale that foregrounds the noncommercial meaning of the holiday. Working from a screenplay by Ryan Swanson, Platte Clark and Darian McDaniel, Jenkins (who is best known for The Chosen, a historical drama about the life of Jesus) crafts a tale that moves unsteadily between poignancy and a kind of emotional sterility.

The movie comes alive when it’s sketching the town’s petty grievances, or the relationship between the protagonist, Beth (Molly Belle Wright, playing a younger version of Graham’s narrator), and her mother, Grace (Judy Greer). But it lacks the same dynamism when it turns its attention to the Herdmans, who seem increasingly like ciphers for the film’s ecclesiastical themes. 

The action kicks off when Mrs. Armstrong (Mariam Bernstein), the director of Emmanuel’s annual Christmas pageant, gets injured and is forced to hand over supervision of this year’s show to Grace, whom the other church moms don’t respect. The film doesn’t detail the dynamics between all the women, but a few moments recall scenes the fish-out-of-water scenes involving Rachel McAdams’ Barbara among the PTA moms in Kelly Fremon Craig’s Judy Blume adaptation, Are You There God? It’s Me, Margaret. Like Barbara, Grace wants to prove to this judgmental cadre that she can be relied upon to maintain this storied tradition. Her relationship with her daughter likewise echoes Barbara and Margaret’s, as another assured representation of an uplifting mother-daughter bond.

There’s a lot of pressure on this year’s pageant, which is the town’s 75th and doubles as a critical fundraising event, so Grace panics when the Herdmans bully their way into the main roles. How can she get these notoriously unruly children to comply? She initially brainstorms with her husband Bob (Pete Holmes) and Beth, but the trio don’t have to scheme for very long. It turns out the story of Jesus is more than enough. The Herdmans, whose parents always seem to be at work, have never been to church. When the six kids reluctantly come to Sunday school, lured by the promise of free food, they soon find themselves enamored by the story of Mary, Joseph and Baby Jesus. 

And why wouldn’t they be? As the Herdmans engage with the Biblical narrative, they identify similarities between themselves and the Holy Family. Scenes of the young crew checking out books at the library and poring over each word as they see themselves in the pages remind of the grip stories have on young minds, how they can open entire worlds for readers.

Imogen, especially, becomes empowered by Mary’s tale. The young girl, who secretly wants to be considered delicate and pretty like popular girl Alice (Lorelei Olivia Mote), comes to realize that resilience is its own kind of beauty. Schneider’s performance as the unruly preteen, whose rough edges mask a softer and more sincere side, makes it easier to buy Imogen’s transformation. But it also highlights a nagging sense of incompleteness when it comes to the Herdmans’ story. The Best Christmas Pageant Ever never quite lands its most poignant moments because Imogen and her siblings remain stubbornly at a distance.

While Jenkins offers glimpses of these kids’ lives throughout The Best Christmas Pageant Ever, more sustained attention — more backstory on the parents’ absence, or more insight into the daily routines of the Herdmans — would have positively complicated the film. It could have underscored how much of the townspeople’s disdain of this clan stems from classism, and how rejection of difference contradicts the tenets they profess to believe in. Most of all, however, focusing on the Herdmans would have helped land more forcefully Jenkins’ lessons about how the true meaning of Christmas is shaped by community.