As we head toward the winter holidays, I was sad to say goodbye to the barrage of horror movies that came out this past year. However, as I settled in to watch “Priscilla” at the Laemmle Claremont 5 and take a much-needed break from my horror fanaticism, I was shocked to see the trailer for “Thanksgiving” (2023) on the screen.
Starring TikTok Influencer Addison Rae and “Grey’s Anatomy” heart-throb Patrick Dempsey, the movie follows an ax-wielding murderer who takes revenge following a deadly Black Friday riot. Upon seeing the trailer, I initially felt intrigued. I wondered why Eli Roth, director of torture porn film franchise “Hostel,” would produce a movie of this nature. Considering his past work, it seemed totally uncharacteristic for Roth to make a film with a campy tagline like “This Thanksgiving, there will be NO LEFTOVERS.”
So, why holiday horror? To answer this question, it may be best to look at “Krampus” (2015), the first of its kind since “Halloween” (1978) to fully embrace the sub-genre. Based on ancient European folklore, the movie draws from the tale of Krampus, a horned beast who punishes naughty children during Christmas. Directed by Michael Dougherty, the film follows a dysfunctional family as they band together to fight off the monstrous Krampus.
With some visually stunning scenes and a coherent plot, the film earned a 66 percent on Rotten Tomatoes and garnered $61.5 million at the box office. Despite its gory nature, the movie has a fairly family-friendly lesson. It warns audiences to understand the true meaning of Christmas — to spend time with, cherish and forgive our families.
“Krampus” is a one-time watch. Aside from its holiday-themed ambiance, the movie fails to distinguish itself from other high-budget horror productions. It’s far from a cult classic, and it’s hard to imagine new viewers tuning in anytime besides December.”
The film hones in this message from the beginning with an opening scene of angry Black Friday shoppers pummeling one another for discounted televisions and children crying on Santa’s lap to Bing Crosby’s “It’s Beginning to Look a Lot Like Christmas.”
Yet Dougherty’s criticism of Christmas consumerism seems a bit hypocritical when we consider the nature of holiday horror. I mean, there’s a reason why “Krampus” was released in December and not in the middle of April. These films are meant to be marketable.
In fact, I would argue that many directors who capitalize on holiday horror prioritize marketability over the integrity of their work. While not necessarily bad, “Krampus” is a one-time watch. Aside from its holiday-themed ambiance, the movie fails to distinguish itself from other high-budget horror productions. It’s far from a cult classic, and it’s hard to imagine new viewers tuning in anytime besides December.
Further, holiday horror serves as a distinct sub-genre that garners a diverse audience. Viewers who typically avoid scary movies may feel more inclined to watch “Krampus” or “Thanksgiving” solely for their thematic ties to the holiday season.
Despite my criticism, I don’t believe holiday horror is an inherently flawed genre — I actually think it has a lot of potential. However, instead of focusing on its marketability, directors and producers should challenge themselves to create a movie that holds up across all seasons. If you want to make a holiday horror work, I should be able to watch it at any point without feeling totally out of place.
So, a note to all filmmakers: Make a holiday horror that transcends calendar daters and resonates year-round.
“Anna Peterson SC ’25 is from Scottsdale, Arizona. She enjoys watching horror movies, making Spotify playlists, and singing in the Claremont Choir.”
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