New Horror Anthology: Naughty or Nice?

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MOVIE REVIEW
I Slay on Christmas
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Genre: Horror
Year Released: 2023
Runtime: 1h 22m
Director(s): Derek Braasch, Marcelo Fabani, Phil Herman, James Panetta, Joel D. Wynkoop
Writer(s): Derek Braasch, Debbie D, Marcelo Fabani, Phil Herman, Nina Trader, Joel D. Wynkoop
Cast: Deborah Dutch, Heather Harlow, Joel D. Wynkoop, Sean Donohue, Debbie D, Alba O’Neill, Christopher Kahler, Joe DeBartolo, Phil Herman, Thomas Antalek, David Perry, Tim Hatch, Mary Catherine Holseybrook Wynkoop
Where To Watch: available streaming

RAVING REVIEW: I SLAY ON CHRISTMAS delves into the eerie and unsettling world of holiday horror with a collection of tales that vary significantly, each directed by a consortium including Phil Herman, Joel D. Wynkoop, Derek Braasch, Marcelo Fabani, and James Panetta. This indie horror anthology merges the grim with the supernatural, creating a patchwork of stories that captivate as often as they falter. Let’s be clear: this is a modern-day version of a 90s shot-on-video horror anthology. However, with that said, there’s something here; it’s far from perfect, but there’s a certain Christmas magic in the air.

From the very beginning, I SLAY ON CHRISTMAS establishes a foreboding atmosphere. A news broadcast informs us that a relentless virus spurred on by a heatwave is spreading uncontrollably. This opening is a precursor for the unnerving episodes, setting the stage for chilling narratives.

In one notable vignette, “All Chopped Up and Nowhere to Go,” Joel D. Wynkoop delivers a compelling performance as Drudge, a despicably violent husband. His portrayal is so vivid that it starkly contrasts with the film’s more modest production elements, highlighting the disparity between aspiration and actuality. Next, “The Best Company” explores Claudia and Louis’ loneliness against the backdrop of holiday festivities. Directed by Marcelo Fabani, this somewhat predictable segment is bolstered by fun, practical effects, and concise, compelling storytelling.

“Re-Gifting” harkens back to classic horror tropes, where the pace and predictability somewhat hinder its impact within the anthology. Under Debbie D’s direction, we follow a woman who slowly peels back the layers of her boyfriend’s dark secret, but the journey there feels all too familiar.

A highlight of the anthology is “Christmas Revenge,” directed by Derek Braasch. This segment mixes horror with dark humor in a narrative about Santa Claus—portrayed by A.J. Laird—who finds himself the victim of a vengeful kidnapping stemming from a misunderstood incident in his captor’s childhood. This piece surprises with its originality and humorous twist at the conclusion.

However, I SLAY ON CHRISTMAS is not without its technical issues, which mar the viewing experience. Subpar audio quality, variable video consistency, and some questionable cinematography often distract the audience from the immersive world the directors strive to create.

Despite these drawbacks, I SLAY ON CHRISTMAS commendably captures the essence of shot-on-video (SOV) cinema. It caters to a niche audience with its unrefined and gritty aesthetic, offering a platform for diverse directorial voices to showcase their distinctive takes on horror. The film is a testament to indie filmmaking’s raw and inventive spirit.

I SLAY ON CHRISTMAS is a mixed bag of innovation and imperfection. It offers moments of true creativity and a distinctive indie horror ambiance but faces significant technical and narrative challenges. It will likely resonate with a particular audience that values the inventive potential of low-budget filmmaking and can appreciate the rough yet creative underpinnings of this holiday-themed horror anthology.

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[photo courtesy of CHEEVIES FILM PRODUCTIONS]

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