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There’s a massive spoiler lurking in the bushes of the super-pushy holiday picture “Last Christmas,” and it’s that Rosebud is the sled! Wait, sorry, “Citizen Kane,” wrong movie. “Soylent Green” is people!

Let’s call “Last Christmas” a whoopsie-daisy with a big heart and a puddin’ head, which is a bit tragic, since it’s directed by Paul Feig of “Bridesmaids” and “Spy,” and co-written and co-starring Emma Thompson, whose brilliant talents have graced and elevated movie after movie. It stars two skillful, versatile, likable sweeties, Emilia Clarke of “Game of Thrones” and Henry Golding of “Crazy Rich Asians.” That’s a start, surely.

It begins in 1999 Yugoslavia, and you probably weren’t expecting that. Kate (Clarke) flees her war-torn country to England with her closeted sister (Lydia Leonard), her elusive father (Boris Isakovic) and her oppressive, fatalistic mother (Thompson, going the full Slavic). With the prologue out of the way and having established Kate’s love of George Michael songs, “Last Christmas” skips into the adult Kate’s story, about a restless, selfish character in need of a wake-up call. People keep referring to a recent medical crisis in her life; she doesn’t seem to be taking care of herself; she’s between apartments and on the rotating-couch circuit.

Then, Wham!

Just like the George Michael Wham!, she meets dashing, approachable, dreamy Tom (Golding), of whom she’s wary because he’s so infernally full of sound advice and gentle entreaties to appreciate the world around her. Up until now, Kate’s favored men who aren’t paperback editions of life lessons. She has been honing her cynicism while working as an elf in a Covent Garden yuletide gift shop. Michelle Yeoh plays the owner, who calls herself Santa, and please excuse me while I arrange a dentist appointment, my teeth are falling out from all the narrative sugar in this lolly of a movie.

The lolly is a series of search-and-destroy-with-kindness-and-understanding missions waged by Tom, targeting Kate, who eventually sees the value in being less of a boozy runaround and more of a homeless shelter volunteer, where Tom works, apparently, and where Kate (an aspiring musical theater performer) puts on a climactic Christmas fundraiser.

Thompson wrote the script with Bryony Kimmings, and like the recent (and infinitely more charming and witty) “Paddington” films, “Last Christmas” argues for a more tolerant and inclusive urban existence for all. The grim clouds of Brexit hang over Kate’s emigre parents’ heads, and in one scene an angry young white man tells an entire busload of London passengers to go back to where they came from. Feig and company manage this real-world element reasonably well. It’s the rest of the dreamy nonsense that grates, from the forced banter to the late-night skating rink excursion to editor Brent White’s insanely nervous and jumpy rhythms. The short sharp shock cutting strategy of “Last Christmas” reduces Clarke to a series of overeager reaction shots, while Golding gamely tries to match her stride.

Clarke, among others, deserves so much better. If you watch her amid the suds of “Me Before You” (2016) and now “Last Christmas,” you see an actor of sound comic and dramatic instincts at the mercy of pushy material. This encourages actors to overexert themselves in the name of delivering the goods with a smile that threatens to turn into something more like Jack Nicholson in “The Shining.”

What “Last Christmas” • Two stars out of four • Run time 1:42 • Rating PG-13 • Content Language and sexual content