Director: Craig Anderson
I don’t often engage in “Christmassy” things, cos I’m not particularly into Christmas itself, but eh… thought I might make an exception and watch this (which is itself something of an exception to my general rule this year of not watching stuff of any sort). And, yeah, I probably shouldn’t have bothered… I was expecting a bit more in the way of comedy for some reason, possibly because director Anderson’s background is TV comedy (things like Black Comedy, Maximum Choppage, Double the Fist), and partly because the premise is fucking deranged; basically we’re dealing with a slasher film in which the killer is an aborted foetus that somehow survived, grew up, and is now out for revenge on mummy dearest. (And the foetus is called Cletus. Amazing.) That idea is so brilliant that it’s such a shame the film is, really, just a slasher film after all (it’s also one of those old school-style Ozsploitation films that evidently brings in an American lead actor—Dee Wallace in this case—mainly if not solely to help sell the film in the US). A perfectly competently made one (the rather strident and bold use of colour in the second half of the film is really striking), but that’s all.
As a study of the ramifications of abortion, it’s obviously lacking in subtlety, though the question of whether it swings pro-choice or against it isn’t terribly clear-cut… you can’t really call any of the characters particularly sympathetic—apart from Jerry who has Down’s Syndrome; this is a quite lovely performance (much the best one in the film) by Gerard Odwyer, and he gets probably the best scene in the film when he discovers just why mother dearest chose to terminate her youngest child—and that includes Cletus; unlikable as the rest of the family kind of is, it’s weirdly hard to feel for him when he’s slicing them up just for having the temerity to have, you know, lived (the first victim, too, is the adopted daughter). Basically I think I just wanted something kind of epic trash from Red Christmas, mostly because of the berserk central premise, and I didn’t really get it; obviously you can take a berserk central premise and play it fairly straight and do so effectively, but here I think a more excessive and black comedic approach might’ve served it better.
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