For those well-versed in obscure holiday lore or those with a quick Wikipedia lookup, Krampus emerges from European folklore as the sinister counterpart to the jovial Saint Nicholas. While Santa rewards the nice with gifts and treats, Krampus, charged with punishing the misbehaved, takes center stage in not one but two major films this year. After terrorizing an unpleasant family in “A Christmas Horror Story,” he now graces the horror-comedy hybrid “Krampus,” showcasing what unfolds when the holiday spirit is lost.
As the story unfolds, the normal Engel family, led by harried parents Tom (Adam Scott) and Sarah (Toni Collette), faces a grim Christmas with Sarah’s sister Linda (Alison Tolman) and her eccentric, gun-toting, Steelers fan family. When Max (Emjay Anthony), the youngest Engel, has his letter to Santa mocked and destroyed, a sudden blizzard isolates the group. Strange snowmen appear, and the family soon discovers they are not alone. Creatures lurk beneath the snow, and the legend of Krampus, explained by Tom’s elderly mother (Krista Stadler), comes to light. The fractured family must unite against demonic dolls, harlequins, evil elves, and the looming presence of Krampus himself.
Directed by Michael Dougherty, known for the cult favorite “Trick ‘r Treat,” “Krampus” pays homage to classics like “Gremlins.” Despite its attempts to blend creepiness, humor, and sentiment, the film falls short of the heights set by its inspirations. The decision to opt for a family-friendly PG-13 rating dampens its potential darkness, and a meandering plot in the first half delays the film’s momentum.
Despite its flaws, “Krampus” has redeeming qualities. Dougherty’s commitment to a straight-faced approach and the cast’s serious performances, particularly by Scott, Collette, and Koechner, add depth to the film. The animated interlude depicting the grandmother’s childhood encounter with Krampus is hauntingly beautiful. The quick close-ups during attacks may limit visibility, but the glimpses of the impressive monster designs leave an impact. The film concludes on a note that, without revealing spoilers, feels almost absurdly perfect.
In the realm of holiday films, “Krampus” falls between the creepiness of “Love The Coopers” and the sadistic humor of “Home Alone.” While it may be a rewrite or two away from being an alternative classic, it possesses enough charm to earn a mild recommendation. After all, who wants to risk getting on Krampus’s bad side by panning his movie? Naughty, perhaps, but not stupid.