Though it was probably ill advised, I did a killer Santa double feature with this and Santa's Slay. In contrast, that had much more of a Hollywood sheen, almost Elf with a homicidal Saint Nick, where Christmas Bloody Christmas was all indie charm. Winning points out the gate for a badass score that mixes retro synth and stoner doom, and continuing with cool late night metal bar vibes. I'll admit the date that takes up the first leg overstays it's welcome, and I don't know why they felt compelled to mix so much quasi High Fidelity banter into such a low brow bloodbath. I'll give 'em points for bringing up Soundgarden, but immediately revoke them for insinuating that even the most hardened elitist would thumb their nose at Superunknown. That album's their masterpiece, not their sellout record, it's popular cause it's brilliant, dammit. But I digress. With a little patience, you'll make it to the screaming violent rampage you were promised. The gore effects may not always be the most realistic, but they're usually practical and tactile and I like that. They overuse the 'ol "he's dead, or is he?" but considering the allegiance to Terminator, it's pretty on par for the course.
I would be remiss if I didn't mention the lighting, which draws attention to itself like Jim Carrey at a Christmas party. It might be a cheap gimmick, but I love it and think it elevates the film. I get it, it's just coloured dollar store lights, but the way they tint literally every scene gives the whole thing a surreal quality akin to the comic book stylization of something like Sin City. Dario Argento is often credited for his artistic eye for employing similar tactics, why shouldn't we extend the same respect to Joe Begos and his black light mini golf White Zombie aesthetic?
I would be remiss if I didn't mention the lighting, which draws attention to itself like Jim Carrey at a Christmas party. It might be a cheap gimmick, but I love it and think it elevates the film. I get it, it's just coloured dollar store lights, but the way they tint literally every scene gives the whole thing a surreal quality akin to the comic book stylization of something like Sin City. Dario Argento is often credited for his artistic eye for employing similar tactics, why shouldn't we extend the same respect to Joe Begos and his black light mini golf White Zombie aesthetic?
