Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

It’s Christmas Eve. A time of anticipation, hope and excitement. It’s certainly not often associated with fear and revenge. Fear caused by revenge and attacks from a man in the guise of Santa, almost believing that he is the much-loved yearly home-invader all in red. It’s another cult Christmas slasher.

Harry Stadling (Brandon Maggart) is a dedicated toy factory worker. Having been promoted through the ranks he now has a nice desk job where he can ensure further that products are of the highest quality, so that all children are happy on Christmas Day. He’s dedicated to the festive season and making it as best as possible, trying to avoid a specific Christmas of his childhood when he saw Santa sexually touching his mother, not knowing that it was just his father in a costume. However, Harry’s obsession with Christmas has got to the point where he himself seems to have taken on the role of Santa in his neighbourhood. He keeps track of all the local children, making notes of them in large books to decide whether they’re naughty or nice – asking what they ‘wish’ for each day to know what they want for Christmas. He cancels holiday plans with his family, making them and his brother (Jeffrey DeMunn) all the more concerned about him and his mental health.

Everything leads to Harry’s Santa obsession causing him to don a big red suit and dirty near-grey beard to initially deliver a large load of toys to a local childrens hospital. However, as Christmas Eve moves on his intentions shift. While he doesn’t quite go on a killing spree blood is certainly spilled at his cause, and certainly one caused by a want for revenge. Soon there’s a full police investigation into Santa’s Christmas slay (not quite on the same scale as “he knows if you’ve been bad or good, and he’s got an axe” – see Ernest Saves Christmas’ fake film Christmas Slay).

When first released in 1980 the film was known as You Better Watch Out – which considering the tone and lack of overall horror is possibly a more fitting title than Christmas Evil, although this didn’t stop it from being part of the UK’s video nasty panic. The film is certainly more of a character study than anything else. You watch a person who loves and cares about Christmas become almost delusional because of it, partly relating to scarring at this time of year during his childhood. While passionately capturing the role of Santa in front of kids, jolly and consistently laughing, encouraging goodness with the promise of presents in exchange. However, around parents and adults he’s a figure of fear and pain.

Harry finds himself confused as to why people don’t like him when they clearly should, after all everyone loves Santa. But, when you create a Christmas Eve of trauma and distress it’s to be expected. It takes a while for such elements to kick in, and this could be seen as more of a dramatic character study than a horror -although there are certainly some, even if a bit unconventional, horror elements within the film when it gets to its final third. The festive themes of wanting to spread peace and goodwill are there for some scenes – even if they are shattered by the murders that the same character commits as part of their delusions. Either way with its firm Christmas setting and style, even if not the most conventional seasonal flick, this is a decent enough low-budget festive low-on-slashes ‘slasher’ character study that’s worth even just a one-off check-out viewing, even if the slightly festively-forced ending is a bit on-the-nose and unfitting of the rest of the film.

While it may not bee the most horrifying or slash-filled Christmas Evil, more fittingly titled You Better Watch Out when first released, does have a handful of festive themes. It’s about a man who loves Christmas and cares about it being as magical and enjoyable as possible for children, one where they won’t be disappointed. He takes it too far and there’s a slightly interesting character study to be found there amongst everything else that happens across the film. Deeply rooted within a Christmas Eve/ Day setting Christmas is a core setting for the piece, and, of course, so is Santa. It’s just unfortunate that in this film he’s coming to town with a resulting thirst for revenge.

Christmas Evil can be watched in the following places:
Shudder
You may have a physical copy of the film on DVD and Blu-Ray (it was passed uncut with a 15 certificate in the UK in 2012, alongside a Blu-Ray release from Arrow Video). It’s always worth checking JustWatch to see where the film is available to buy, rent or stream in your country.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

1942’s Cat People is regarded by many as an early horror classic, while it’s 1944 sequel isn’t as widely seen, or known. Not as dark as the original (which isn’t a necessary watch to engage with this mostly separate feature), but still with its elements of horror, The Curse Of The Cat People is possibly the most conventional Christmas film in this year’s calendar.

Six year old Amy (Ann Carter) is something of an introvert within her class. She has few friends and prefers to spend time on her own exploring instead of playing games with the class. Her imagination and behaviour reminds her father, Oliver (Kent Smith), of his estranged ex-wife Irena’s behaviour before she passed away. However, Irena (Simone Simon) appears in a ghostly form to Amy. The two form a close friendship that’s supposed to remain a secret, all Amy’s parents (her mother, Alice, played by Jane Randolph) think is that she has an imaginary friend. However, as more details of this bond unravel the two become increasingly concerned about their daughter and the things that she’s seeing.

Irena isn’t the only person that Amy gets to know over the course of the film. After walking into a mysterious house in which it’s believed by the local children a witch lives. After venturing in the young protagonist discovers ailing retired actor Julia (Julia Dean) and her daughter Barbara (Elizabeth Russell). There’s a clear rift between the two figures in the house, made darker and more mysterious by the fact that Julia claims that Barbara isn’t actually her daughter, claiming that her real daughter died when she was the same age as Amy and that the person she lives with is some form of disguised spy.

Yet, throughout the film the emphasis is on the friendships and bonds that Amy creates throughout the film, particularly that with Irena. As their bond strengthens Christmas comes more into play, with the final stages playing out across Christmas Eve. There’s something about the idea of people coming together that boosts the festive spirit held within the film. However, Amy’s parents still continue to worry, with their concerns only increasing as the film goes on and their daughter’s behaviour becomes more and more unusual and like that of Irene’s before her passing – her ghost, on the other hand, is a presence of calm and kindness.

With all of this going on the horror elements are never forgotten – this is a ghost story after all, and isn’t A Christmas Carol? While the film isn’t a direct horror there are, what may be seen as, some underlying eerie moments, and undeniably a handful of themes relating to the genre. In a number of scenes campfire style spooky stories are retold – such as tales of the Headless Horseman and Sleepy Hollow – and yet it all goes towards the idea of people coming together at Christmas. There’s a slight warmth to a number of the scenes between Amy and Irena, as they converse in the snowy garden while carollers sing in the background – the initial title for the film was Amy And Her Friend until studio RKO changed it to something seen as more marketable to bring in the profits, as Arnold Schwarzenegger classic Jingle All The Way shows, Christmas is nothing but commercialism.

Certainly the most conventional Christmas film in this year’s calendar there’s a fair share of warmth and goodwill within The Curse Of The Cat People and its themes of friendship during the festive season. However, with a plot that revolves around ghosts and multiple mysteries surrounding the living and the dead there are a number of horror related elements within this film. It might not be the scariest, it’s certainly not trying to be, but there are at least one or two moments that might create a slight chill within some viewers watching the cold and frosty settings of a number of scenes.

The Curse Of The Cat People can be watched in the following places:
BBC iPlayer
You may have a physical copy of the film on DVD or Blu-Ray, or even VHS (remember those?). If you don’t and you want to watch the film it’s always worth looking at JustWatch to see where you can buy, rent or stream the film in your country.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

After the relentless savagery of yesterday’s calendar feature today the film behind the door is something a fair deal milder – but not without its horror elements. Christmas for many is a time to break out the board games, Cluedo sometimes being a particular favourite; so, let’s take a look at mystery-thriller The Wolf Of Snow Hollow.

Snow Hollow is a small, secluded ghost-white town where something very rarely goes wrong. Life is calm and mild and because of this the local police force is small. However, when dead bodies begin to turn up every full moon the paranoia begins to get to the town – despite the claims of officer John Marshall (writer-director Jim Cummings) that werewolves don’t exist. John already has his own problems, he regularly attends alcoholics anonymous, he struggles to have a proper relationship with his teenage daughter, Jenna (Chloe East) and at work he begins to feel as if he’s losing power, especially in the face of the ailing health of the sheriff (the final film role of Robert Forster).

As the stresses pile up so do the bodies, each one with all the gruesome markings of a wolf attack. Hysteria begins to flow through the town and its police force, including John’s partner Detective Julia Robson (Riki Lindhome), with John himself still being the only one claiming that it’s the work of a murderer, nothing else. The question begins to be asked whether he’s the werewolf, or rather if there really is a werewolf. His sanity begins to decline across the film as the demand to catch the killer rises more and more with every corpse found in the now deep red snow. As his parental obligations are forgotten and he risks not being able to see his daughter again, losing his job and so much more gradually we see the mental state of the protagonist also decline as more obscure happenings occur in an otherwise small, quaint and quiet town that’s still embracing the festive spirit.

Most of the film’s events seemingly take place between Christmas and New Year. Slow carols drone in the background of a number of scenes, while frosty decorations that look as if they’ve seen better days sit, scattered loosely around, in front gardens. The town, cold with its snow, is clearly still embracing the season of peace and goodwill and doesn’t need a series of murders disturbing it. Although, an amusing piece of folklore could certainly give them all something to talk about – The Wolf Of Snow Hollow does sound like it could be a folktale after all.

John is trying throughout to try and get closer to his daughter, both feel that he’s slightly distanced from her. And what better time to show people trying to bond and coming together than Christmas? A number of the themes and ideas throughout the film can certainly be found in more conventional Christmas films. There are some who have already labelled this as a Christmas film, with Cummings gladly accepting such comments – although with it very much in the background and not often mentioned, and most of the other themes in the film, this is certainly, for my money, an alternative Christmas film. With its horror elements fuelled further by the mystery that it brings in, and Cummings already solidified brand of humour, sometimes bordering on dark – this is only his second feature after 2019’s debut indie gem Thunder Road – pushes this further.

Instead of turning the figure of Santa into a murderer, kidnapper, or creating dark, twisted fantastical abilities The Wolf Of Snow Hollow simply goes down the werewolf route. Or at least it implies that it does. It’s a guessing game with various elements that all add to the horror feeling. A film about people, particularly John, struggling to work together around Christmas with increasing worries and stresses. With an element of dark comedy it certainly has its lighter moments, and helps to feel even more like something slightly festive because of this. But, it never forgets its horror related elements and the mysterious potential werewolf that, like Christmas, is always in the background to remind the viewer of the tones and themes of the film.

The Wolf Of Snow Hollow can be watched in the following places:
Amazon
YouTube
Rakuten TV
Google Play
Microsoft Store
Or you may have a physical copy of the film on Blu-Ray or DVD. It’s always good to check JustWatch to see where the film is available to buy, rent or stream in your country.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

The week of Christmas has arrived, the home stretch towards the day itself has arrived. And so behind today’s calendar is possibly one of the least festive films set during the Christmas period there is. One truly not for the faint of heart – and even those used to films that serve lashings of gore may find this particular feature difficult to stomach. Dare you venture Inside today’s door?

As already delved into as part of this year’s calendar Christmas is a time of celebration and welcoming – especially when it comes to the bloated man in red whose home intrusions are encouraged on an annual basis. However, Inside is far from this, and is certainly a jet dark – even darker than the almost black shade of crimson blood that lines many of the later shots – home invasion.

Alysson Paradis’ Sarah is hoping for a quiet, isolated Christmas. After losing her partner in a fatal car accident four months earlier she’s still grieving, while heavily pregnant with their now overdue child. Unfortunately the plans for a calm and almost ignored Christmas is shattered when a character simply called La femme (Béatrice Dalle) breaks into Sarah’s home in the middle of the night with the intent of stealing her baby. After waking up to her stomach attempted to be cut open the frightened protagonist finds herself fighting for not just her life but her unborn baby’s too as a merciless attacker attempts to slash through every door and obstacle in her way. All while Sarah desperately locks herself away in her bathroom, gasping for breath after the initial attacks.

More characters get involved, including Sarah’s publishing employer, Jean-Pierre (François-Régis Marchasson), and her mother (Nathalie Roussel), and yet La femme’s tirade refuses to stop. It simply gets increasingly bloody until the lens itself is drenched, capturing the relentlessly savage action with an extra sheet of red that simply adds to the brutality of the piece. All captured with lingering shots from writer-directors Alexandre Bustillo and Julien Maury. Shots which simply add to the long-lasting flinching pain the viewer feels throughout; as the situation becomes vastly more intense and worrying for Sarah, despite her resourcefulness and determination.

There is very little, if any at all, festive spirit within Inside. It’s a brutal slasher filled with intensity and scares for the scenario that the central character finds herself in. It could be said that her determination to survive, and keep her unborn child alive – especially at Christmas – show a want for peace at this time of year. The lack of joy and festivities oppose the standard feel of conventional Christmas films, but creates hope that there’s a way out of this, mother and child will survive and that, even if not properly celebrating, they will be safe when the day finally arrives.

Christmas might not play a huge part in Inside, it’s very much in the background. A tree appears in the side of the frame in a scene or two and Christmas Eve, on which the events occur, is only mentioned once or twice. Yet, thematically you can’t help but feel the impact of this slight detail on the unfolding horror. It adds to the tension, the fear, the deep cut of the violence and gore – this is the opposite of a scratch, and once again not for the faint hearted – and the overall theme of Sarah’s desperate battle for the survival of two. Definitely fitting in with this year’s horror theme this is certainly a very alternative Christmas film.

To find out where you can watch Inside it’s worth checking out JustWatch to see where you can buy, rent or stream the film in your country. Or, you might already own a physical copy of the film on DVD.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

Today marks the day before the week of Christmas. People may be beginning to properly prepare for the festivities and embracing them as the home stretch arrives. And so behind today’s calendar door is a true Christmas film. One that embraces the magic of the season with its fantastical elements. Fantasy that stems from eeriness and horror in the rather great cult hit Rare Exports: A Christmas Tale.

Set in the build-up to Christmas this film sees a British mining expedition in Lapland impact a nearby village of few people, including three reindeer slaughterers. However, when the expedition discovers something dark within the mountains all the nearby reindeer are murdered overnight and it’s believed that Santa Claus has been awoken. As the children in the area begin to disappear one by one the one left is perhaps the most inquisitive about Santa – Pietari (Onni Tommila). After capturing the dishevelled lanky figure of what appears to be the face of Christmas himself Pietari’s father (Jorma Tommila) attempts to hide what he has captured, alongside his two co-workers. However, it’s not long until darker forces come into play and the Christmas Eve that the story plays out over could very well be the last.

Throughout the film many fantastical elements are played with, especially when it comes to the folklore of Santa, at times mixing it with the figure of Krampus. Either way as the situation becomes increasingly desperate and the threatening hoard of elves being to play their part there’s uncertainty as to what should be done – especially when thousands of dollars are wanted for the damages that will have been done by the unleashing of the figure trapped in a butchery. Yet, the spirit of Christmas and time of year are never forgotten about – even if they are slightly twisted for a horror effect.

Rare Exports can certainly be viewed as a film with its festive conventions – and not just because of the presence of a quasi-Santa – mostly in the form of people coming together during the festive season, even if it is to defeat an evil presence. The cold sheet of snow that surrounds all landscapes in the film push the harsh scenarios, yet when the film plays with its fantasy and moments of effective, and not overly dark, black comedy there’s a slight bit of seasonal cheer held within the twisted conventions.

By not going into the mountains to find Santa or solve the problem all action is kept above ground. While this may have been done for budgetary reasons; this is a film relatively free of any major CG shots, it’s something that helps the film feel unique and original. By staying above ground and following all the actions there, allowing for the unknown creatures to come to the protagonists, there’s a level of suspense and extra threat added – while allowing the characters to plan how they may respond, with limited resources. It all might be a build-up to a punchline, although better than one found in any cracker, but it all works and clicks rather well. This is a creative and well-formed film that manages to have a slight, if darkly subverted, Christmas feel to it – while never forgetting its fantasy infused moments of horror.

A dark tale about the Santa that we never get shown, the one that’s a threat to children, Rare Exports truly is something different. Helped by its black comedy, and of course elements of horror, there’s a a lot to like about it. All while being a twist on the genres and formats which it holds. Yet, the idea of people coming together, especially family, to save Christmas, although initially their business and livelihood, in this circumstance holds something rather entertaining to see. It’s no surprise that this has gained a growing cult status over the years since its initial release in 2010.

Rare Exports: A Christmas Tale can be watched in the follow places:
Amazon/Prime
BFI Player
Shudder
iTunes
YouTube
Sky Store
Alongside a number of other places, including being available on physical formats such DVD and Blu-Ray. It’s always worth checking JustWatch in your country to see where the film is available to stream, rent or buy.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

Day two of this year’s calendar and after delving into a Santa Claus home invasion let’s take a look at another big figure of the festive season. For many Christmas is marked by the birth of the baby Jesus, not the antichrist. Yet, in The Day Of The Beast on Christmas Eve the presence of the devil and the antichrist are felt by a Catholic Priest intent on stopping them from bringing about the apocalypse.

Christmas is largely known as a time for kindness and generosity, however Father Ángel Berriartúa (Alex Angulo) announces in the opening scene to his fellow priest that he intends to commit as many sins as possible. Away he goes stealing, pushing over street performers and committing all sorts of minor crimes and grievances. Once meeting record store owner José María (Santiago Segura) the two form a partnership intent on fulfilling Ángel’s aim of ridding the world of the soon-to-be-born antichrist – on Christmas Eve of all nights, when the streets are packed with last minute shoppers. Throw in an alleged TV psychic (Armando De Razza) and the horrors of communicating with the devil begin to properly come into play.

Yet, before any actual confrontation with the face of evil; and even after the first effects of a summoning circle are witnessed, a lot of the potential fear, and some of the dark comedy that’s prominent throughout the first half of the film, Ángel’s mental state is almost questioned. Is everything he claims true, or is it all simply part of a descent into madness and delusion? Has he an ulterior motive that links to darker intentions? As the film plays out and the three central figures become increasingly battered and bruised by their investigation this question is asked more and more.

While it could be said that the central team come together at Christmas and there are bonds formed many of the films themes and ideas, in fact the base plot as a whole, are almost the antithesis of what most people associate Christmas with. Rooted in tones of darkness, fear and the potential end of the world there’s a lack of peace and harmony as the desperation of the characters heightens. The horror conventions are well and truly in place throughout, even if the film itself isn’t exactly the scariest, although playing more as a horror in the second half.

Black comedy is a key tone during the first half of co-writer (alongside Jorge Guerricaechevarría) and director Álex de la Iglesia’s film. His central figure is unsure as to how he should sin, and what crimes he should commit – finding himself listening to extremely heavy metal about Satan and asking for records to be played in reverse for devil worshipping messages, while the man behind the counter worries about it breaking the record player. The film initially pokes fun at the frantic situation that the narrative is made up of, as it seems that the priest may be foreseeing things that aren’t really there/ won’t actually happen.

Throughout the elements of horror and dark comedy the question about the visions and alleged foreseen future is, is it just in his mind, or is it real? Either way there’s a chance that it can help everyone have a better and more peaceful Christmas, and potentially save the world and prevent the apocalypse – perhaps there is a bit of festive cheer present after all.

The Day Of The Beast can be watched in the following places:
Amazon
Or, you may have a physical copy on DVD or another format. There may be other streaming options available, it’s always good to check JustWatch to see where you can watch the film in your country.

Christmas films are often associated with warmth, family, togetherness and a general infusion of the joys of the festive season, not horror. However, there are a number of horror films set at the festive season, a time when you would least expect the evils of the world to be on display. Therefore, this year the Alternative Christmas Film Advent Calendar, inspired by last year’s selection of Anna And The Apocalypse, takes aim at Christmas horror films.

This year’s calendar begins with a film that covers one of the scariest elements of Christmas, intruders. Every year people celebrate a complete stranger who breaks into your house in the middle of the night, this figure more commonly known as Santa Claus. It’s this route that home invasion action-horror Dial Code Santa Claus (sometimes called Deadly Games, Game Over or 3615 Code Père Noël) travels along.

Eight year old Thomas (Alain Musy) is labelled as a child genius. However, he seems to be the only person he knows who still believes in Santa Claus. After finding a way to message Santa Thomas is certain that on Christmas Eve he’ll have proof that Santa is real. However, it turns out that the person that he messages is a lonely man (Patrick Floersheim), turned away from by people in the streets and seemingly craving attention. When the stranger, dressed in bright red Santa costume, although looking more like he’s prepared for rainy weather, with his hair spray-painted to look like fake snow, arrives at the expansive mansion that Thomas and his family reside in his intentions are revealed to be far more murderous than they initially seemed.

Soon there’s a battle for survival, with his Mum (Brigitte Fossey) out of the home, as Thomas is left to use his Arnie-style skills and weapons – brought about by a convenient love for action films – to fend for him and his frail grandpa (Louis Ducreux). Yet, with all the twists and turns of the expansive house, and its steep, snow-covered roofs, there are little places to hide and stay safe within. The hooded anti-Santa finds ways to catch up with the pair, continuously battling up close with them and ending up in Home Alone style fights – if Home Alone was made in the style of Commando; director René Manzor threatened legal action against the actual Home Alone, released the year after this film, for plagiarism. As blood begins to be shed and the deadly figure behind this home invasion causes a separation between the only other two people on the grounds of the building and puts them at various, potentially deadly, disadvantages.

While it might not feature conventional Christmas film styles and themes Christmas is still featured rather heavily throughout the film – not just because the antagonist is a man in a Santa costume. The film watches Thomas as his faith and belief in the magic of Christmas – briefly discussed by his Mum while she’s at work during the gradual build-up of the film’s ideas – quickly fades away. Once Santa strikes for the first time there’s no going back, his idealised image of the festive season is destroyed. Instead of being given gifts he has things taken away from him.

However, there’s an emphasis on his relationship with his grandfather. Their bond is a key focus throughout the film, time is certainly taken to cement it over the first half hour or so. Thomas does his best to ensure that they both survive, putting his grandparent in safety before himself, hiding him before coming up with plans on how to defeat the murderous intruder. Is this a film about family? Not completely, however the relationship between the two is certainly a key feature of the piece that truly captures what’s at stake – the fact that film is set on Christmas Eve pushing this idea even more.

There’s a lot that goes on within Dial Code Santa Claus, and certainly enough to make it an enjoyable little action film with some slightly fun moments above anything else. Although there are certainly still a number of horror ideas there, especially within the slasher style and the threat that’s faced by Thomas throughout. This may cause him to have a shattered view of not just Santa but Christmas as a whole, but when looking at this in the real world it potentially makes us more thankful that we at least allow a nice guy to break into our homes once a year.

Dial Code Santa Claus can be viewed in the following places:
Shudder
Or you may have a physical copy of the film, perhaps on DVD. It might be able to stream, rent or buy on other platforms depending on where you are in the world, it’s always good to check JustWatch just in case.