In 1984, Gremlins by Joe Dante caused a sensation at the box office and critics. Released on June 8, it was a rarity of origin. It mixed a Christmas story — although it was not released on those dates — with the characteristics of horror movies. In the same scenario, codes from both genders coexisted, which caused some criticism. Including, a moderate scandal about its classification for all audiences. Chris Columbus’ script, which featured the idea of a race of cute creatures capable of turning into monsters, found its ideal context on Christmas Eve. Also, it challenged the expectations of the public and the specialized press.
It was not the last nor the first time that the great festivals served as an unexpected landscape to tell terrifying stories. Already in 1843, the British writer Charles Dickens had made the English custom of telling horror stories at Christmas his best-known story.. But little by little, the cinema builds its own mythology of disturbing creatures, which live among the songs and celebrations. From the creepy Krampus, a traditional entity from the mythology of the Alpine countries, to killers dressed as Santa Claus. There are no limits to the cinematic imagination when combining the symbols of the date with the most violent plots.
We leave you five movies — and where to watch them — if you want to give these types of chilling stories a chance. From the possibility that one of the most emblematic figures of the day is evil to a classic that has aged with sinister grace. The selection covers the best of a curious genre that you should give a chance to.
Rare Exports: A Hooligan Christmas Story (Prime)
It is the first decade of the millennium and a group of explorers and scientists in the Arctic dedicate Christmas time to a curious project. The film by Finnish director Jalmari Helander gets into the subject quickly. So it shows that the group’s interest in investigating rumors about a strange creature trapped in the ice is a risk. The locals insist that it is a dangerous entity, while cutting-edge technology is an unexplained mystery. How could a creature have survived the extremely low temperatures?
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The answer is as surprising as it is chilling. What lies under the ice is none other than Santa Claus. Or at least, a beast named after him but with a tendency toward murder and violence. Between drama, comedy and gore, the film advances its premise between beheadings and spilled blood.
But especially, with a moral that, in the middle of the action, is even hilarious. Let no one take for granted that Christmas only brings good wishes. As the series of violent deaths that the plot includes, demonstrates in detail.
Chris Peckover’s film, could be the morbid and close to slasher version of the classic Home Alone by Chris Columbus. But the argument is smarter than that and turns its premise from home invasion into something more disturbing. And in one of the best Christmas horror movies.
When Ashley (Olivia DeJonge) must face an attack by a group of intruders while babysitting, she must also test her ability to survive. Which will take her to the physical and mental limit, in the middle of a terrifying Christmas night.
But more than that, the character must face the possibility that the attack on the house in which he lives is something more than an assault. With surprising plot twists and solid use of tension, the domestic space becomes a battle zone. At the same time, in a collection of traps that Ashley must overcome in the midst of an increasingly brutal chase. For its shocking ending, the film demonstrates which is much more than it seems and especially, stranger than one might assume from its premise.
Ana and the apocalypse (Filmin)
John McPhail took a zombie story and combined it with a Christmas narrative. To both things, he added the topics of a musical. The result is a very rare proposal, which does not adhere to any limit. So it goes from horror – with several tributes to directors of the genre, included – to a comedy with astonishing ease.
As if that were not enough, it links its plot with a growth story for its protagonist. Anna (Ella Hunt) must face not only the living dead, but also the small battles of adolescence that she is barely finishing and the consequences of them.
It may seem excessive for a single plot, but the director is smart enough to balance his central points into a solid setting. Much more, by ensuring that the film does not decline in interest in its third section, in which the entire premise reaches its highest point. Also, the most unique message from him. Christmas sometimes requires survival. And this time, it’s not a metaphor.
Gremlins (HBO Max)
Director Joe Dante turned a traditional German legend into one of the best-known Christmas horror films in film history. Randall (Hoyt Axton) is a failed inventor who will unleash, almost by accident, an unexpected situation. That, by stealing from the mogwai Gizmo and give it to your son Billy (Zach Galligan). But, what appears to be an adorable and peaceful creature, keeps a secret. One capable of devastating what is in its path.
One of those horror movies that had Hollywood debating which plot was for everyone and which wasn’t, is misleading in several ways. From his twisted sense of humor to his brutal scenes of violence. Dante took the chaotic spirit of the Gremlins and made it the center of Chris Columbus’s plot.
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Little by little, the film tells a story that goes to the roots of collective fears and uses paranoia due to inexplicable events as a backdrop. Meanwhile, hundreds of green-skinned creatures invade a peaceful town and destroy at will. With a sequel, an animated series, and dozens of pop culture references, Gremlins has become a spooky Christmas classic.
The last night (Movistar+)
What would happen if the end of the world happened on Christmas Eve? The premise of Camille Griffin’s film is heartbreaking by necessity, and very different from other horror films. Also, terrifying in its simple pessimism. What begins with an apparent family celebration ends up being goodbye to civilization as we know it. But as the hours pass — and the end is imminent — something becomes clear. lhe survivors must face their worst traits in the midst of tragedy.
Griffin doesn’t waste time on maudlin messages or existential questions. Before that, he analyzes death and desolation as part of the nature of human history. For his painful end, the apocalypse arrives, but also, a sinister certainty. Man is condemned to destruction and by his own hand.