Following his thirteen-minute horror short, Sweet Revenge, earlier this summer, in celebration of Friday the 13th‘s—a slasher franchise now renamed “Jason Universe”—forty-fifth anniversary, filmmaker Mike P. Nelson wraps up the holiday season with another genre film. Joining Damien Leone’s Terrifier 3 and Macon Blair’s The Toxic Avenger comes Silent Night, Deadly Night, the newest title in distributor Cineverse’s catalog. In juxtaposition with these two feature-length films, Nelson’s project is less gruesome in its depiction of violence. Reasonably so, the film is rather focused on revisiting Charles E. Sellier Jr., Michael Hickey, and Paul Caimi’s original 1984 film and recreating its pivotal beats and moments.
Like Nelson admits in the official production notes, this franchise is somewhat new to me, and so I got to see it more recently compared to other horror fans. I was introduced to the original late last year, as it was often referenced in discourse surrounding Terrifier 3 and Art the Clown dressed as Santa Claus. Personally speaking, the 1984 movie is a little too silly. Yet, that isn’t to suggest that I abhor it by any means—the writer-director himself notes the “quirkiness [with]in the [screen]writing”. His Silent Night, Deadly Night isn’t perfect, either; however, its tone is more palatable for my tastes, a reboot that offers a creative take on punishing the naughty. Ultimately, Nelson’s ethos as a storyteller is sufficient for genre fans to be certain with delight of what’s to come.
Silent Night, Deadly Night is written and directed by Mike P. Nelson (Wrong Turn, V/H/S/85, Sweet Revenge).
In this review, I will discuss Silent Night, Deadly Night. As this article’s title suggests, no spoilers will be present.
The Official Synopsis
Here is the official synopsis for Mike P. Nelson’s slasher horror film, Silent Night, Deadly Night.
A twisted reimagining of the controversial classic – After witnessing his parents’ brutal murder on Christmas Eve, Billy grows up to deliver an annual spree of holiday violence. This year, his blood-soaked mission collides with love, as a young woman challenges him to confront his darkness. “Have you been naughty?”’
Cineverse
Discussion
Familiarizing myself with Nelson’s work over the past few years has been a rather interesting experience. His direction on the Wrong Turn reboot recontextualized what I knew about the slasher-survival horror series. In my eyes, it was always about the dread lurking within the woods and the gruesome presence inhabiting them. Extrapolating that idea is his two-part segments in Shudder’s V/H/S/85 horror anthology film, titled “No Wake” and “Ambrosia”. Nelson delves into folk horror and blends it with science fiction and true crime elements to contribute to what is now my favorite film of the franchise. Thirdly, Sweet Revenge is his third film set in the woods (that I know of). I believe what Nelson succeeds at is repurposing horror location settings and archetypes.
Likewise, the filmmaker accomplishes this feat with the Silent Night, Deadly Night reboot. He’s managed to find his way out of the woods and into small town grounds. Divided into a fairly moderate three acts, the audience is (re)introduced to Billy Chapman (Rohan Campbell), first as a child (Logan Sawyer) for several minutes before exploring what has become of him in his adulthood. The reboot’s structure is dissimilar to the trauma that Chapman faces in the original movie—that is, from losing his parents to living in an orphanage to approaching adulthood. Nelson’s primary goal is “to make something original from something familiar”; in other words, deliver the uncanny, a vital trope within gothicism and the horror genre.
Nelson’s Fresh Take
To reiterate, Silent Night, Deadly Night isn’t perfect. I can see flaws in details, e.g., the final act’s eight-to-nine-minute exposition dump. Chapman tells Pamela that he’s been drifting since the age of eight, which doesn’t ring true because the movie also shows that he’s lived in a foster home as a teenager. While the plot does remove the original movie’s Catholic subtext and nun subplot, I would still prefer for the reboot to follow the “show, don’t tell” principle. Also, removing a younger brother to burden him as a responsibility—and thus turning him into a one-man show—changes many things. I don’t mind that decision, but again, it would benefit to see how Chapman’s losses and traumas impact his personality.
The role of Charlie (Mark Acheson), the “shotgun Santa” who killed Chapman’s parents as a child, plays more in the realms of fantasy and surrealism. Chapman and Charlie’s dynamic resembles the symbiosis of Eddie Brock and Venom in Sony Pictures’ Venom movies, albeit without the dark comedy between host and parasite. Granted, the movie has its comical moments, such as Pamela referencing a random “pooping incident” that occurred in her family some Christmases back. Additionally, Pamela’s “explosive personality disorder” is a psychological element that feels hit-or-miss for viewers. I suppose, say, Jennifer Tilly’s Tiffany Valentine from Don Mancini’s Child’s Play/ Chucky franchise is the only character that I can call to mind as a frame of reference.
On The Bright Side
With that in mind, I can accept the other minutiae incorporated into the film. Chapman’s Advent calendar is a nice, helpful countdown to Christmas, with each day containing the blood of a slain victim. Instead of snapping, his turn to violence is caused by a supernatural force, thus rendering him an antihero vigilante. The conflict in the backdrop of the narrative surrounding a local serial kidnapper dubbed “the Snatcher” is clever. My only note regarding this is that it isn’t as explored as much as needed.
Moreover, the viral subplot involving a civilian woman, Delphine Anderson (Sharon Bajer), is brilliantly assembled into one strong sequence. Nelson has a way with words and even has Chapman internally struggle between his intuition and what is asked of him. Stunt coordinators Kristen Sawatzky, BJ Verot, and Rick Skene aid the filmmaker here, with editor Geoff Klein inserting an awesome cut from Chapman swinging an axe to Anderson snorting a line of cocaine. The use of a brick, broken glass bottles, and a crowbar feels very old-school of fight scenes in movies. It’s amazing to see that type of action return to the big screens.
Everything done in the original movie is brought with a wider intention. Chapman’s parents still get gunned down in the middle of the road. By the time he grows older, he soon gets a position as a stocker and cashier at a store selling Christmas wares. He encounters a girl around his age, Pamela “Pam” Sims (Ruby Modine), and he’s even armed with a box-cutter. Funnily enough, the circumstance itself reads like a Hallmark movie on the surface. However, that is no detriment to the narrative as a whole.
Themes
What is wrong with this town? Everyone is so…nice.
Charlie (Mark Acheson)
Silent Night, Deadly Night integrates unique dualities to juxtapose characters and tone. If there is any debate about the film’s goodness, then it has got to be how Nelson writes two-sided natures. His lens into the narrative antagonists, the Snatcher and Chapman, toys with the audience’s sense of belief. Essentially, this comes down to the physical personifications of naughty and nice. How do either figures hide from public view and evade capture? Conversely, Nelson gives us Chapman and Charlie as representations of a human being and the deep, dark, intangible voice that beckons. I love the juxtaposition here as the balance between what is wanted and what is necessary, or justice versus vengeance. Clearly, the writer-director draws a concrete line for the audience instead of spelling it out as the narrative progresses.
At the same time, Chapman and Pamela are two sides of the same coin…if the coin symbolized mental instability. The colors of reality versus the red madness are neat visual cues for what that suggests. Red seems to be a fantastic trigger for Chapman, who finds himself out-of-balance. The carnal frames mean he is entering a killing mode. His Santa costumes are like a mask, which “flips a switch; it helps me slip from Billy into something else”, as opposed to the Snatcher, who wears a literal Santa Claus mask. There are a couple of times where the color pink symbolizes innocence or naivety, namely in Pamela defending her nephew, Liam (Landon McGowan Geoffrey), for having a pink hockey stick, or a little girl wanting a pink skateboard for the holidays. My interpretation is that Chapman’s view of the world is mostly red and outlined by whiteness.
The Production
Unlike the original movie, Silent Night, Deadly Night‘s quality isn’t as generic, but production designer Oscar Fenoglio’s set pieces still appear a bit drained of life. Then again, that’s by Nelson’s design: “elements of whimsy, magic and emotion like a Pixar film, but with the darker undertones of [Bill Paxton and Brent Hanley’s Frailty and Adam Wingard and Simon Barrett’s The Guest]”. Think of, say, the aesthetic atmospheres of Ari Aster’s short film, Munchausen—or pretty much anything by the Jewish filmmaker—but more confined. The small town in Nelson’s film is presented “to feel cozy and disarming, yet imperfect”, and therefore, yielding to “spaces of false security”.
The opening shots of young Chapman visiting his grandfather (Darren Felbel) hold promise, with close-ups of an old woman Alice’s (Muriel Hogue) face and smile as she offers Chapman candy, and the dimmed lighting of Grandpa’s room. The sequence with Anderson during the second act is jolly. Beneath lies a synecdoche of darkness that the whole town apparently has. Director of photography Nick Junkersfeld records at least a couple of decent one-take shots. One consists of a character’s point-of-view following a tragic scene, keeping Nelson’s tone while also revealing a bit more about these characters.
Blitz//Berlin’s mixture of retro and modern Christmas horror score is radical. “Carol of the Bells” is satisfying to the ears, while “In My Technicolor Dream” is full of energy. The reboot’s version of “Silent Night” is solemn, as it should be. Supervising sound editor Matthew Harrold et al do a great job at building suspense in the holiday horror. The creaking footsteps upon wooden flooring are anxiety-inducing, and I love the sound of Chapman’s axe landing on impact.
The Crew Behind the Film
Nick Junkersfeld (Wrong Turn, V/H/S/85, Sweet Revenge) serves as the director of photography.
Geoff Klein serves as the editor.
Blitz//Berlin (The Void, Witch Hunt, The Puppetman, Queens of the Dead) scores the film’s original music.
Matthew Harrold serves as the supervising sound editor.
Tom Murray is the sound designer. Alex Laframboise is the additional sound editor.
Jim Heber serves as the casting director.
Juan Salgado serves as the visual effects supervisor.
Kristen Sawatzky serves as the stunt coordinator. BJ Verot and Rick Skene are the additional stunt coordinators.
Oscar Fenoglio serves as the production designer. Janis Tecson serves as the set decorator.
Laura DeLuca (Violent Night, Dark Harvest, Clown in a Cornfield) serves as the costume designer. Kiara DeLuca is credited as the assistant costume designer.
Ellie Semchyshyn serves as the makeup department head.
Ashley Hyra is the key makeup artist. Doug Morrow is the key makeup effects artist.
Roberta McKenny serves as the hair department head.
Davin MacRae serves as the special effects supervisor.
The Cast of the Film
Rohan Campbell (Operation Christmas Drop, Halloween Ends, Sabrina Carpenter’s “Taste” music video, The Monkey) portrays the protagonist, Billy Chapman.
Ruby Modine (Happy Death Day, Shameless, Happy Death Day 2U, Satanic Panic) portrays Chapman’s love interest, Pamela “Pam”/ “Pammy” Sims.
Mark Acheson (Elf, Watchmen, Brand New Cherry Flavor) portrays Charlie/ “Shotgun Santa”, the voice in Chapman’s head.
David Lawrence Brown (Friday the 13th: The Series, Channel Zero Season 1, Orphan: First Kill, Dark Harvest, Time Cut) portrays Dean Sims, Pamela’s father.
David Tomlinson plays Max, a police officer and Pamela’s ex-boyfriend.
Logan Sawyer plays a young Billy Chapman.
The Supporting Cast
Erik Athavale (Orphan: First Kill, Violent Night, Bed Rest) and Krystle Snow play Geoffrey and Tara Chapman, Billy Chapman’s late father and mother, respectively.
Darren Felbel plays Grandpa Chapman.
Landon McGowan Geoffrey portrays Liam, Pamela’s nephew and Dean’s grandson.
Sharon Bajer portrays Delphine Anderson. Tom Young portrays George Vilmo.
Ryan Padua plays Tommy, a kid who bullies Liam during hockey practice.
Rick Skene (Wishmaster 3: Beyond the Gates of Hell, Joy Ride 3: Road Kill) plays Elroy, the owner of a Christmas tree business.
Jessica Burleson portrays Dana, a waitress at a restaurant by the Sims’ store.
Darren Ross (Wishmaster 4: The Prophecy Fulfilled, Violent Night, Clown in a Cornfield) plays Ray.
Muriel Hogue plays Alice, an old woman at Grandpa Chapman’s hospice. Nicole Mueller appears as a nurse.
Andrea Greening (HBO’s The Last of Us pilot) and Yan Joseph play Cops #1 & 2, respectively.
Diane Ventura portrays a blindfolded Hispanic woman. Jeff Strome portrays a strangle victim.
Ava-Darrach Gagnon plays a bow-and-arrow victim.
Lance Cartwright portrays a “greasy mechanic”. Alan Castanaga plays a liquor store clerk.
Sam Hutchings portrays a chainsaw victim.
Toni Reimer appears as Gail, George Vilmo’s late wife.
Kowan Cadorath portrays a teenage Billy Chapman.
Kristen Sawatzky portrays Chapman’s foster mom. Lochlan Strome plays one of Chapman’s foster brothers.
Richard Tolton appears as a hockey coach.
Performances and Character Developments
Slasher fans have hated Campbell for his role in David Gordon Green, Paul Brad Logan, Chris Bernier, and Danny McBride’s Halloween Ends. Yet, I remember admiring the overall film’s (and its trilogy’s) ability to take risks. Campbell goes fine with Nelson, and I’ve got an affinity for his on-screen chemistry with Modine. Their characters’ meet-cute is cute, I suppose, but I enjoy the awkwardness and apprehension of Chapman being a criminal with something to hide or run from. Campbell isn’t a generic face, and I have confidence that he will become a household name within the next several years.
Modine’s portrayal of Pamela does the character justice to my satisfaction. In the original movie, she’s a generic figure, but so is every other character, excluding Chapman, his younger brother, and their Sister Margaret. In the reboot, Pamela is briefly described as a “sugar-coated onion”, which isn’t too bad because I’ve got no quarrel to settle with onions. Modine hasn’t aged a day since the Happy Death Day movies, where she started as an antagonist whom genre fans have slowly grown fond. As Pamela, the actor is more assertive, solidifying her personality as a “true crime junkie”. It’s true what her father, Dean Sims (David Lawrence Brown), says about her: she has a gift. Similarly, Chapman perceives her as “a good person”. The character is a loving and caring person, further fortifying her ethos.
Final Thoughts on Silent Night, Deadly Night
Silent Night, Deadly Night‘s ending feels a lot like the ending to Rupert Sanders, Zach Baylin, and William Schneider’s The Crow remake from last summer. One plot twist is way too predictable, and the missing children subplot is a good diversion for the audience to assume one thing but learn another. I’m not too sold on the characterizations, namely of characters who are seldom present. Where is Pamela’s sister in the film, and what is her role exactly? My issue with Chapman and Charlie is that if they are paired up together, then why does the former’s nightmares of his parents’ murder traumatize him so much?
Nelson’s reboot is far from terrible, and its reputation for having a Nazi-killing scene will stand the test of time. It’s a movie that I like instantly but wish could run closer to two hours. As a narrative, it desires improvement, but as a production, it is worth the wait.
Mike P. Nelson’s Silent Night, Deadly Night is now playing in theaters!
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