THE STORY – When Billy witnesses his parents’ grisly murder at the hands of Santa, it ignites a lifelong mission to spread holiday fear. Every Christmas, he dons the red suit and embarks on a blood-soaked massacre to feed his twisted sense of justice.
THE CAST – Rohan Campbell, Ruby Modine, David Lawrence Brown, David Tomlinson & Mark Acheson
THE TEAM – Mike P. Nelson (Director/Writer)
THE RUNNING TIME – 97 Minutes
The original “Silent Night, Deadly Night” released in 1984 is (apologies to trashy horror junkies) not a good movie. And yet, because of its ridiculous tone, memorable title, and Christmas theming, it’s a yearly staple for folks who disagree with the very title of “It’s a Wonderful Life.” Filled with pop pseudo-psychology and nasty kills, it spawned four sequels, a remake in 2012, and now, another remake. Filmmaker Mike P. Nelson (director of perhaps the best segments in “V/H/S/85”) has updated the Santa slasher for a more discerning audience. Despite a decidedly more knowing, campy tone, it follows the story beats of the original film closely enough to appease fans, before deviating into very much its own thing, and it’s all the better for it.
As in the original, our central character is Billy (Rohan Campbell), a young man who has developed a psychological connection with the image of Santa Claus. This obsession started at a young age after he witnessed a man dressed as Kris Kringle murder his parents. Now grown, he deals with the deep, disembodied voice of a mysterious, methodical man only he can hear. The voice has a bloodlust that must be satisfied every holiday season, making it clear that if he doesn’t kill one person every day in December, something awful will happen. The voice alerts Billy to ne’er-do-wells who wouldn’t be missed, marking them for death and essentially forcing Billy to don the classic red-and-white snow gear and slay them in increasingly creative ways. After drifting aimlessly, Billy finally finds a semblance of stability when he lands a job at a toy store and strikes up a friendship with the owner’s daughter, Pam (Ruby Modine). Even by Billy’s standards, Pam is unusual: quick-tempered, occasionally volatile, and obsessed with true crime. But she and Billy are drawn to one another, which means that Billy must find a way to mitigate his bloody impulses for both of their sakes.
Strangely and unfathomably, “Silent Night, Deadly Night” manages to actually portray involuntary mental compulsions in a way that occasionally approaches truthfulness. As someone who struggles with occasionally paralyzing OCD and irrational intrusive thoughts, the voice telling Billy that if he doesn’t do a specific action, something vaguely bad will happen feels shockingly familiar to this critic (although my thoughts are entirely non-violent, I promise!). That’s not to say this is a representative or empowering piece of art that helps neurodivergent individuals feel seen. Still, it’s a massive leap from the oftentimes-offensive depictions of mental illness found in horror movies.
But don’t worry: the film isn’t filled with therapy speak and cringey, affirmational conversations. This is still a gnarly horror movie about a killing spree, and Nelson delights in finding innovative ways to make the audience squirm. Like a character from a Tarantino film, Billy manages to find weaponry all around him, oftentimes from unconventional objects. Nelson appropriately sets the tone for his film with funny chapter titles, unnerving editing choices, and clever transitions, making it feel appropriately puppy-like. The writer-director’s choice to make Billy’s victims entirely far from innocent gives the audience permission to fully enjoy the carnage and root for the Father Christmas figure who’s responsible for it. Anyone who watches this film is sure to nestle all snug in their beds while visions of severed limbs dance in their heads.
As our central anti-hero, Campbell is excellent. After making a splash as the controversial Corey Cunningham in “Halloween Ends,” the young performer continues to prove he’s a fantastic horror actor. He’s unafraid to fully commit to the ridiculous dialogue he must deliver, bringing a strangely sympathetic energy to Billy. His micro-reactions and sotto voce asides to the voice in his head are equally humorous and honest. Modine makes for a worthy right-hand woman, leaning into the misanthropic energy of her character while still being charismatic. Both are well-equipped to guide the film through the twists and turns of the final act, which is where it fully establishes itself as its own story. It requires some leaps of logic from the audience to avoid becoming totally laughable, but the two actors do their very best to keep the film enjoyable.
Let’s be clear: this movie knows exactly what type of film it is and who it aims to please. Chances are, anyone reading this far into this review is merely looking for permission to watch this film, which means that they’re most likely already on board for a jolly, bloody time. In that case, put this movie on your Christmas list. “Silent Night, Deadly Night” is no great piece of art, but in the same way that candy stuffed in a stocking is far from a five-star meal, it doesn’t matter to those seeking it out, and it’s enjoyable all the same.
