Modern movies rarely cause a stir like “Silent Night, Deadly Night” did in 1984.
The low-budget shocker showed a serial killer dressed as ol’ St. Nick slicing and dicing his way through the holidays. Many Americans recoiled at the imagery.
Even Siskel & Ebert cried foul.
“I would like to hear the filmmakers explain to their children and their grandchildren that it’s only a movie.” – Roger Ebert.
Now, bloody Santas are part of the Yuletide tradition – make of that what you will.
So “Silent Night, Deadly Night” has its work cut out for it. The remake takes the “Dexter” route, imagining the psychologically scarred killer as a vigilante sorting out who’s naughty and nice.
What’s missing? Genuine scares, for starters.
Young Billy witnesses his parents’ murder in a chilling prologue. The lad, permanently scarred by the attack, takes on the spirit of the killer.
Said killer was dressed as Santa Claus for some reason. Now, an adult Billy (an effective Rohan Campbell) hacks people to death while wearing the same red and white ensemble.
The fluffy white fur quickly turns red with blood, of course.
He’s egged on by Charlie (Mark Acheson of “Elf” fame), a voice in his head that coaxes him to kill without getting himself caught. It’s a fascinating element to bring to the remake, and Acheson’s voice is the movie’s chief selling point.
Billy finds work at a Mom and Pop-style convenience store where he meets Pam (Ruby Modine, daughter of Matthew). The two unexpectedly click, but can Billy keep his hobby a secret from her?
Or is she even more twisted than Billy?
First poster for the ‘SILENT NIGHT, DEADLY NIGHT’ remake.
In theaters on December 12. pic.twitter.com/mKHEcDGck6
— DiscussingFilm (@DiscussingFilm) October 16, 2025
Add a jealous ex-boyfriend, a separate serial killer and a Nazi hoedown and you have more elements than necessary for a slasher film.
Those Nazis suggest the film’s desperate quest to offend. It’s a murder-palooza that’s indifferently choreographed, unnecessary and politically timid.
Ooooh, our antihero is killing Nazis! You know who ELSE is a Nazi? There’s no overt political nods here, but it still feels safe, not subversive.
The segment does end with one of the film’s better “kills,” for what that’s worth.
Writer/director Mike P. Nelson (the tepid “Wrong Turn” reboot) gets the most from his cast, from the leads to supplemental players. The Christmas tunes add some snark to the proceedings, too.
Campbell and Modine share genuine chemistry as extremely lost souls desperate for a life line. Too bad the film’s horror beats keep getting in the way. That shouldn’t be an issue for a genre film, but the generic murders and milquetoast subplots barely sustain our interest.
Had “Silent Night, Deadly Night” leaned into its bloody rom-com DNA it might have made more sense.
As is, the remake offers a twisted alternative to Rudolph, Buddy the Elf and the Snow Miser. If that’s your speed this holiday season, it’s better to stick with “Bad Santa,” “Violent Night” and “Krampus” and skip one mediocre “Night.”
HiT or Miss: “Silent Night, Deadly Night” isn’t offensive like the 1984 original. It’s also not interesting enough to get outraged about.