Whilst most Christmas films get across their message about how family is the true meaning of the holiday in a wholesome and light-hearted fashion, ‘Krampus’ takes quite a different approach. As director Michael Dougherty (Trick ‘r Treat, Godzilla: King of the Monsters) crafts a cynical and amusing horror-comedy based around: ‘Krampus,’ a creature from European folklore with origins stretching back to the days before Christianity, serving as essentially the sinister twin of jolly ‘Saint Nicholas,’ punishing those who misbehave in various odious ways. And while the film is far from perfect, ‘Krampus’ creative ideas and impressive practical effects make the film worth it’s runtime.
Plot Summary: When his dysfunctional family clash over the holidays, young ‘Max’ finally decides to turn his back on Christmas, tearing-up his letter to ‘Santa Clause’ in a fit of rage. Little does he know, his lack of Christmas spirit has unleashed the wrath of: ‘Krampus,’ an ancient demon who punishes those who don’t celebrate the festive season. Forcing ‘Max’ and the rest of his family to fight for one another if they hope to survive…
Although there are plenty of enjoyable films out there to watch over the festive season, I usually always find myself craving something new around the Christmas-period, as the cliché narrative of children helping ‘Santa Claus’ save Christmas gets very old quick. ‘Krampus’, however, does certainly attempt something new, even if it isn’t always successful. As whilst the original outline for the film was closer to a straight-forward horror, focusing mostly on ‘Krampus’ picking people off throughout ‘Max’s town, it was eventually decided to make it more of a dark retelling of a traditional Christmas film. This is why the plot is kicked-off with a letter to ‘Santa.’ and why the film’s first act begins much like a family film would, before then having a drastic turn towards horror and dark fantasy.
The film’s large cast of Adam Scott, Toni Collette, Emjay Anthony, David Koechner, Allison Tolman, Stefania LaVie Owen, Conchata Ferrell and Krista Stadler are all serviceable in their roles, even though many of their characters aren’t developed nowhere near enough. Additionally, ‘Tom Engel,’ a.k.a. ‘Max’s father, also has many moments where he doesn’t seem to take their life-threating situation that seriously, almost as if he is acknowledging how bizarre the story is, which does diminish the film’s tension at points. But with ‘Krampus’ featuring moments of humour and fright alike, the film obviously has many shifts in tone between scenes.
Jules O’Loughlin’s cinematography is nothing amazing altogether, as in spite of the film having quite a few memorable and attractive shots, there are also a large amount of bland shots whenever the camera is focusing on the actors themselves. What is far more admirable though is how the camerawork enhances the film’s set-design, making the audience believe that the film was shot inside a real house and outside on a real wintry street. When, in reality, over 95% of the film was shot on a soundstage, with the snow covering the ground being made from a material that’s commonly used for making nappies.
Composer Douglas Pipes handles the film’s original score, and he described his soundtrack as “A Collection of Twisted Christmas Carols with Pagan Thrown in.” As the score incorporates everything from the sounds of chains, bells, bones and animal-skin drums in addition to having choirs chant and whisper in different tongues, making for a foreboding but suitably Christmassy score. The track: ‘A Cold Wind’ also does a phenomenal job of reiterating ‘Krampus’ as the ominous shadow of: ‘Santa Clause’ through its use of sleigh bells. However, the film’s actual sound design features some incredibly strange choices for a horror, as many goofy/cartoonish sound effects can be heard within the film, feeling immensely out-of-place every-time they are.
One of the finest aspects of: ‘Krampus’ as a film has to be its effects, as rather than having an over-reliance on CG visuals, ‘Krampus’ brings all of its uniquely creepy creatures to life through detailed costumes and animatronics, harkening back to classic ’80s horror-comedies like ‘Gremlins’ and ‘Fright Night.’ Many of the film’s terrifying monsters also share wonderfully horrific designs, with the final design for: ‘Krampus’ and his elves being distilled from various postcards and illustrations seen over time. Or in the case of the malevolent toys, taking inspiration from the 1992 low-budget horror: ‘Demonic Toys,’ with the angel ornament, teddy bear, robot and Jack-in-a-box that attack the family sharing many similarities to the toys seen in that obscure horror flick.
In conclusion, ‘Krampus’ is a rollicking ride of a Christmas film even if it isn’t quite as polished as Dougherty’s Halloween flick: ‘Trick ‘r Treat.’ As the film’s excellent practical effects, menacing creature designs and great original score all lend themselves very well to the distinctive story, despite the narrative itself often feeling like wasted potential considering ‘Krampus’ doesn’t full appear until near the end of the runtime. Regardless, this horror-comedy is still, in my opinion, the best on-screen interpretation of: ‘Krampus’ and his devilish minions as of yet. Final Rating: 7/10.