RED CHRISTMAS (2016)

Red Christmas, right off the bat, is intent on establishing that it’s not going to be like other holiday-themed slashers that have come before. It’s not the fun, spook show experience that Halloween perfected, and it’s certainly not the no-brained, silly affair like Silent Night, Deadly Night. More closely aligned with Black Christmas in terms of mood and bleakness, but absolutely still inspired by the ‘80s slasher movement based on the graphic and icky murder sequences, Red Christmas cannot be easily categorized. Any horror film that opens within an abortion clinic in the midst of an attack from Christian fundamentalists in which a fetus thought aborted is tossed in a bucket and kicked in a corner, only to reach up a tiny bloody hand to signify that it still lives, isn’t looking to entertain its audience with LOLs.

Despite setting what is essentially slasher film on a holiday and giving it a typically ironic title, Red Christmas is actually based on a pretty original premise, and stocked with characters you wouldn’t necessarily see in a film like this: one of the siblings is pregnant, another is adopted, another is very buttoned-up and married to a priest, and one has down syndrome. And what a fine dysfunctional family they make. But holding it together is America’s favorite genre mother, Dee Wallace, most famous for Momming it in E.T., Cujo, Critters, The Hills Have Eyes, and… Rob Zombie’s Halloween (boo-hiss). Enjoying the rare leading role, Wallace embraces the lunatic concept of Red Christmas to maximum effect, earning the audience’s sympathy not just because of her awful, squabbling family, but because of the past that comes back to haunt her.

Red Christmas can be fun at times, but deeply upsetting at others, and so many taboos are broken that it’s easy to wonder how anyone with a conscious could enjoy the film at all. And while Red Christmas is hard to watch, it oddly satisfies in that way only an ‘80s slasher could, while also going for the jugular a bit more feverishly.

Writer/director Craig Anderson’s Suspiria-inspired lighting scheme dazzles and adds to the uniqueness of Red Christmas, bathing several environments in red and green, giving it both your typical holiday look but also making everything feel off and unsettling.

Red Christmas has flaws, to be sure, but its daringness to break taboos and to be utterly bleak by its end make up for them. It has brains (for once), heart (though it wants to break yours), and it certainly has spirit. It’s one of the most unique horror films of the year, but one that’s also a tough watch. Be sure that you’re ready.

Know before going in that Red Christmas might show a familiar face and a well-worn concept, but it’s not your typical slasher flick. Much more intent on upsetting rather than amusing, Red Christmas is definitely what a horror film should be: unique, uncomfortable, and at times difficult to watch.