Christmas Bloody Christmas-Review
Another Christmas has come and gone and with it we approach the final days of 2022. Presents have been vigorously unwrapped from under our trees as we spent time with our families nestled snug by a warm fire ingesting copious amounts of holiday treats and hot cocoa. However, for genre fans like myself, new horror films centralized around Christmas are easily one of the most exciting parts of the holidays. Thankfully this year, Shudder has graciously gifted us with a yuletide horror story that puts a clever new spin on the “killer Santa” trope with writer/director Joe Begos (VFW) ‘Christmas Bloody Christmas’.
Twas the bloody night before Christmas..
When it comes to holiday horror films, especially killer Santas, there are numerous different approaches, some more strong than others. Many have tackled this subgenre with massive success such as the classic 1984 ‘Silent Night, Deadly Night’ and 1980’s ‘Christmas Evil‘. Others have chosen more unconventional routes like the 2005 horror comedy ‘Santa’s Slay‘ starring former professional wrestler Bill Goldberg as Kris Kringle. Or the equally bonkers 2010 Finnish horror film ‘Rare Exports‘ in which Saint Nicolas is portrayed as a massive holiday demon entombed within ice. With ‘Christmas Bloody Christmas‘, Begos takes this familiar holiday stereotype and flips it on its head by presenting us with a Terminator-like robot Santa appropriately named RoboSanta+ (Abraham Benrubi). Designed by the US department of Defense to replace the lackluster drunken mall Santas across the country, RoboSanta+ comes equipped with state-of-the-art technology with full range motion, a vocabulary of over 90,000 words, and military grade construction perfect for security defense; what could go wrong?
Set during Christmas Eve, ‘Christmas Bloody Christmas’ opens with a brief sequence of infomercials, one of which explaining the high-tech features of our RoboSanta+ capturing that sense of early 80’s-90’s channel surfing nostalgia. We are then introduced to the films lead, slacker girl and record shop owner Tori Tooms (Riley Dandy) and her friend/employee Robbie Reynolds (Sam Delich). Following a cheeky conversation in which he convinces her to bail on a date she had previously scheduled a few days prior, a news announcement from the films local television station broadcasts the total recall of RoboSanta+ due to unspecified malfunctioning reasons. As the night of drinking and debauchery ensues with their friends Lahna (Dora Madison) and Jay (Jonah Ray), the films killer robot Santa sparks to life and begins his night of blood-drenched slaying leaving Tori and Robbie with a less than merry Christmas.
RoboSanta+’s Nice List
Clocking in at under 90 min, ‘Christmas Bloody Christmas‘ feels perfectly paced, starting off at first as non-stop grindhouse slasher only to quickly evolve into a tense siege film. Though the set designs are minimal, they’re beautifully lit and well enclosed; from the bar and sheriff’s department, to the local toy store, each location feels creatively unique and wholly utilized. As with Begos’ previous film ‘Bliss‘, visually, ‘Christmas Bloody Christmas‘ is a festive treat. His signature use of neon colors splashes the screen with vivid delight. Due to Christmas Bloody Christmas being shot on 16mm, the grainy film only accentuates the bright shades of red and green mixed with cool purples and hot pinks. The film’s high-octane energy and carnal slaughter is only amplified by the impeccable score provided by Steve Moore, emphasizing every chaotic moment happening on screen.
RoboSanta+ is especially vicious as he wields his crimson axe butchering bodies in grisly fashion. The first kill we witness after he powers on is cleverly shot through his perspective as we watch him slice through his victim in one fluid swipe. What makes his character even more terrifying isn’t his nearly indestructible frame nor the way in which he chops through multiple victims’ heads with brute strength, but rather the way in which he relentlessly hunts Tori and Robbie, like an unstoppable force. As he sustains more damage throughout the film, we see the masterful practical effects of his metallic skeleton and illuminating green laser eyes. The carnage candy is gruesome as heads are chopped in-two, bodies are flung like ragdolls, and blood-splatter paints our characters and killer Terminator Santa bright red.
Adding to the non-stop chaos are the strong performances Riley Dandy and Sam Delich bring to Tori and Robbie. The dialogue exchanges between their characters, though often vulgar, feel natural. This is in part because of the well-crafted script and on-screen chemistry between the two actors. Mixed with casual conversations of which horror movie sequel outranks whose and best metal albums, a sexual tension increasingly grows between the two until its resolve in sensual flare. Tori is especially captivating as she is filled with spit-fire charisma and an alluring personality. She is outspoken, wild, and the epitome of a sexually liberated independent woman who’s immediately likeable. As the film progresses, we see her evolution into a strong final girl as she fights back against her robotic pursuant, becoming her own Sarah Connor in the process.
Where Robo-Santa’s Gears need Tinkering
For as fun as the conversations are between Tori and Robbie, their salacious nature at times can be off-putting. Begos isn’t shy when it comes to crude dialogue, as every character for the most part has the mouth of a sailor. There are few sentences throughout the film that do not incorporate at least one or two f-bombs peppered with some other curse word reminiscent of a Rob Zombie film. Though I’m not typically bothered by coarse language in a film, there are times where ‘Christmas Bloody Christmas‘ relies on it so much, it almost feels forced in some ways. This detracts from the natural flow of some of the conversations and can make their characters feel a bit childish. Throughout the first half of the movie Tori and Robbie are so wrapped up in their conversations while continuously drinking and getting high, completely oblivious to the havoc around them. The only character who receives ample development in the story is Tori, which is a bit disappointing as Robbie’s character has missed potential for growth. Other characters that are introduced such as Jeff Daniel Phillips’ (‘The Lords of Salem’ and ‘31‘) Sheriff Monroe and Officer Smith (Jeremy Gardner; ‘The Battery’ and ‘After Midnight’) play no significant role in the film’s plot apart from providing a standout scene involving the town’s local police station and extra body count.
Speaking of the body count, when it comes to the deaths displayed on screen, though as merciless and creative as they are, some are recycled while a couple of others happen off screen. This is a bit disappointing as the ones we are shown are quite brutal. However, this comes with the exception of one for me personally. During the second act of the film before realizing RoboSanta+ is on the hunt for her and Robbie, Tori witnesses the killer robot brutally murder a small boy in his living room while she stares out of her kitchen window. What makes this death even more disturbing is the use of his body after the fact, as the prosthetic doll is used as a means of physical entry and a lifeless shield of defense. I am usually not bothered by most deaths in horror films but, when it pertains to certain deaths such as animals and especially children, I do find myself becoming withdrawn from the film. Though I understand these are moments meant to reflect the monstrous nature of the film’s villain detaching him from any real human empathy, for me there is a point where certain deaths feel either unnecessary or added for shock value, rather than true story progression. This scene would have been more impactful to me had his death been heavily implied or altered in a way that utilizes an adult character or, simply leave the boy alive to find his butchered family.
Merry Christmas Bloody Christmas!
‘Christmas Bloody Christmas‘ is a gruesome film with off-the-wall visuals and hypnotic colors creating a wildly unabashed yuletide slasher. Though Begos never answers the questions as to why RoboSanta+ malfunctions or why he is mercilessly stalking his victims, this does not diminish my enjoyment from the visual experience. ‘Christmas Bloody Christmas‘ knows what type of film it is and accomplishes its goal with excellence. The story is not bogged down with complex technicalities, the on-screen deaths soak the screen in blood, jaw dropping practical effects with enriched set designs, and dialogue that feels aesthetically natural. While the script can be extreme at times, Riley Dandy steals the light with her powerful performance echoing final girl icons before her. Filled with 80’s grindhouse nostalgia soaked in a neon color palette, Begos delivers ‘Christmas Bloody Christmas‘ wrapped in a gory bow that is sure to become a new holiday horror favorite amongst genre fans.
‘Christmas Bloody Christmas‘ is now streaming exclusively on Shudder. Be sure to check out all of our other holiday horror reviews, as well as our festive yuletide tales of terror: The Twelve Nightmares of the Holidays; 12 short holiday horror stories written by fellow HauntedMTL reviewers and authors, including ‘Coming to Town’ by yours truly.
(3 / 5)
Movies n TV
Anna (2013) To Some, Mindscape to Others, a Thriller Film
Anna (2013), also known as Mindscape, is a psychological thriller of a struggling memory detective named John.
Anna (2013), also known as Mindscape, is a psychological thriller directed by Jorge Dorado. This R-rated directorial debut stars Mark Strong, Taissa Farmiga, Brian Cox, Saskia Reeves, Richard Dillane, and Indira Varma. As of this review, interested viewers can watch this film on VUDU, Hoopla, Plex Channel, Pluto TV, Roku Channel, Tubi TV, Amazon Prime, and more. Anna originally released in 2013, but it released in the US in 2014.
Struggling to return to his work as a memory detective, John (Mark Strong) pursues a new assignment. Anna (Taissa Farmiga) views John as her last chance to prove her innocence before she’s condemned to an asylum. As John searches through her memories, a tale of abuse and manipulation unravels.
What I Like about Anna (2013)
Anna earned three nominations but no award recognition. From the Sitges–Catalonian International Film Festival, it earned a nomination for Best Motion Picture. The Goya Awards recognized Jorge Dorado with the 2014 nomination for Best New Director. Finally, Anna received a nomination from the Gaudí Awards for Best Art Direction.
Taissa Farmiga’s performance balances the line between suspicious and innocent, which is necessary for this unraveling mystery. It’s a delicate role, but Taissa Farmiga brings to life the material given.
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Anna‘s plot rotates around a new fringe science that’s slowly gaining traction. It’s less a dissection of this science and more a norm that Anna expects viewers to believe. It’s an interesting concept, though not unique. Still, it’s a nice additional dynamic to the mystery.
While not a horrifying film, it does deliver a mystery that keeps viewers engaged with enough hooks to add an extra layer before something gets stale. That mystery does linger in the mind in some respects but doesn’t haunt the viewer.
Tired Tropes and Triggers
Despite Anna not depicting these moments, sexual assault remains a recurring element of the film. Little remains conclusive, with some suggestions that these are false allegations. Furthering this point, the film depicts Anna as a manipulator and flirt when some incidents suggest she’s a survivor of assault.
Derogatory language might upset some, but these remain brief moments. The use indicates a particular character’s immaturity, but I’ll raise the point regardless. Furthering this line of analysis is a moment where a bullied character is implied to be gay, but it’s likely just an insult.
While not inherently a trigger, this new field of science earns the claim of being somewhere between forensic science and lie detector tests, a massive gap that anything can fit in. It makes everything subjective when the film wants to claim absolute evidence. I can’t help but wonder what exploring that unreliability might look like, but that’s not this film.
What I Dislike about Anna (2013)
The biggest deal breaker for some is this concept of a teen mastermind. I won’t go into details about the mystery, but I am often fatigued with this idea of a teen femme fatale. While Anna gives enough mystery, it’s an overused trope.
Mark Strong’s performance delivers on the material, but John seems so easily manipulated for someone who does this as a profession. While out of practice, I don’t understand why he believes or doesn’t believe information. If Anna depicts John as overly critical or gullible, the film will have a more consistent character.
I assume there remains an understandable reason for the name change, but Anna appears as a common title for a film, spinning a series of some recognition. Mindscape also earns some recognition and competition, but it’s a more memorable title than a single noun name.
Final Thoughts
Anna provides an interesting concept and mystery, but many shortcomings hinder the execution. Viewers eager for a psychological mystery with a drop of sci-fi, Anna delivers an engaging story. However, the market does provide competition, making it a tough film to recommend. (3 / 5)
Movies n TV
Tips on Raising Evil from “The Demon of Parenthood”
The assessors investigate cursed toys in an attack against commerce, but Ben has a finger on the issue in “The Demon of Parenthood.”
“The Demon of Parenthood” is the eighth episode of season 3 of Evil, created by Michelle King and Robert King. The central cast includes Katja Herbers, Mike Colter, Aasif Mandvi, Michael Emerson, Christine Lahti, and Andrea Martin. As of this review, it’s available through Netflix and Paramount+ and its add-ons.
The assessors investigate cursed toys in a terrible attack against commerce, but Ben (Aasif Mandvi) has a finger on the potential issue. David (Mike Colter) receives another task from the Entity. Kristen (Katja Herbers) learns more about her missing egg. Leland (Michael Emerson) invites Dr Boggs (Kurt Fuller) to the darker side of spirituality. Sheryl (Christine Lahti) takes her granddaughter to work.
What I Like about “The Demon of Parenthood”
I enjoy the espionage aspect of the Entity, pushing David to questionable grounds as he navigates what’s right against what’s demanded of him. While this plotline doesn’t reach its full potential, this episode highlights one of the more interesting opportunities of this idea. The Entity consistently interferes with the procedural case, possibly covering up abuse to support its objectives. This episode highlights this dynamic to perfection.
Kristen gets pulled in multiple directions, forced to question her trust in David, and faces a unique horror after learning about her missing egg. While I won’t dive deeper into this issue for this review, it’s safe to say this episode belongs to Kristen, and Katja Herbers delivers.
Her unsettling night terrors suggest an intuitive understanding of some of the manipulations around her, highlighting these moments to the viewer by proxy. Beyond these meta moments, the execution of these night terrors remains pleasantly unsettling.
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- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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- Katja Herbers, Mike Colter, Aasif Mandvi (Actors)
- Robert King (Director)
- Audience Rating: NR (Not Rated)
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Among a constant trail of failures, Leland lingers in the background as he puts pieces together for his master plan. We don’t see the full scope of his vision yet, but the suspense it builds for future episodes earns its place. I’m interested to see how these plots will evolve, even if Leland’s luck seems to turn sour. Perhaps it’s because of this dynamic that the tension works so effectively.
With a shocking moment tied into this episode, “The Demon of Parenthood” creates one of the more haunting episodes. However, the greatest accomplishment in the episode is what it establishes for the future of the series. While not all these points follow through by the end of Evil, it’s still an episode that ripples across the show’s progression.
Tired Tropes and Triggers
Without diving into too many details, spousal abuse and murder occur in the episode. This abuse might indicate a demonic influence, but such points remain speculation.
A severed body part and some gore stand out in this episode. It hardly earns enough attention from fans of gory horror, but the squeamish should tread carefully toward the end.
What I Dislike about “The Demon of Parenthood”
Many dropped ideas seem genuinely interesting, building to some potential development that receives little payoff. Missing these opportunities will never feel satisfying. While some changes are understandable, it creates holes in the narrative. For example, Dr. Boggs’ dark seduction slows in pace, becoming implied or withheld from the audience soon after “The Demon of Parenthood.” These experiences often adapt the concept of evil that the show seeks to bring to life.
Sheryl’s compliance with Leland’s plan still seems underdeveloped as a concept, especially with how far she takes it in this episode. While later episodes add a different perspective, I can’t help but feel these are retcons or concepts not thoroughly thought out.
Final Thoughts
“The Demon of Parenthood” progresses the plot and delivers some genuinely haunting moments. While a retrospective assessment does note many missed opportunities, the episode stands up beyond these missed opportunities. 
(4.5 / 5)
Movies n TV
You’ll Have a Bloody Good Time with this Eternal (2004) Health Tip
When Raymond Pope’s wife disappears, he follows the trail. But each lead points him to the Eternal beauty of Elizabeth Kane.
Eternal (2004) is a horror thriller written and directed by Wilhelm Liebenberg and Federico Sanchez. This R-rated film stars Caroline Néron, Victoria Sanchez, Conrad Pla, and Ilona Elkin. As of this review, it is available for Amazon Prime members with renting options from Spectrum on Demand.
When Raymond Pope’s (Conrad Pla) wife disappears, he’s swept into the mystery of Elizabeth Kane (Caroline Néron). As his investigation becomes increasingly bizarre, bodies pile up and point to Raymond Pope. Will he clear his name, or will this bloody rampage drown him?
What I Like about Eternal
While all of the performances add to the film, Eternal thrives on the charisma and mystique of Caroline Néron’s Elizabeth. She enchants her targets, lowering their defenses until that final moment.
Conrad Pla’s Raymond Pope also requires a delicate approach to succeed. The sleazy and hypocritical detective seems genuinely concerned for his wife (at least initially) and sells that concern. While far from an easy character to root for, the audience understands him and the danger he faces.
There’s a heavy erotic thriller angle that Eternal delivers on. I’ll linger on this point in later sections, but it certainly knows how to build tension within a single scene or between characters. These moments don’t feel forced, and while they often target a male audience, interesting dynamics rise above general exploitative content, if only slightly.
This seems to be a passion project between the creators, Wilhelm Liebenberg and Federico Sanchez. This passion lingers in the moments to deliver something unique, if not without its flaws. The film doesn’t hold back, a point that fluctuates between negative and positive depending on the situation. Regardless, it holds a charm in that commitment that’s hard to replicate without passion behind the scenes.
Tired Tropes and Triggers
The film labels itself as “Inspired by True Events,” which only relates to the general discussion of Elizabeth Báthory. It’s also worth mentioning that, much like Vlad Dracula, her story remains heavily dominated by modern interpretations. I won’t pretend to hold exclusive knowledge of these historical figures, but cultural interpretation reduces realism. The claim means little to nothing.
The predatory queer trope applies to Eternal, with little complexity to challenge the point as the violence often targets women. It’s important to note that Elizabeth acts as a femme fatale in general, but the targets remain clear. However, this film did earn a moment of recognition from the Glitter Awards (a clip was used in 2006), which might suggest the standout performance of Caroline Néron’s Elizabeth earns back some goodwill.
What I Dislike about Eternal
The erotic thriller holds a stigma that Eternal doesn’t challenge. Elizabeth remains a clear femme fatale with a slightly supernatural twist. While the performance executes this character perfectly, viewers likely know if this remains an interest or a tired cliche for themselves.
While most of Raymond’s acts make sense for the character, I hold issue with the end. Without going into too many details, he is asked to do one thing to protect himself and does the opposite for no reason. Perhaps this indicates supernatural influence, but such a claim lingers in headcanon.
The film ends ambiguously, which hardly seems fitting given the evidence and weakens the overall film. A definitive ending, or something moderately more definitive, would strengthen Eternal.
Final Thoughts
Eternal’s major obstacle in executing its erotic thriller is that of tired tropes in the modern era. If one looks past these dated points, there’s a haunting thriller that can meet moments of excellence. The plot falls short in many areas towards the end of the film. Ultimately, if a vampire-esque thriller interests you, Eternal certainly adds its perception to the niche but in a familiar form.
(3.5 / 5)
