The undeservedly poor ratings are by reviewers who have not realised the true deeper meanings of this contemporary gem. Don't be misguided by the humor; this piece is a fierce analysis on bourgeois gluttony. It reveals the opium of toxic positivity for the masses of this thing branded as the 'jolly season.' Our main protagonist is a true heroine of our time. The way Holly Frost experiences Christmas in her hometown, is analogous to our own realities during feigned merriment. Holly is all of us. We are Holly. If you realise this, suddenly it all makes sense.
Holly's perspective and response to it all is the only right way to deal with the illusion of the holiday's festive gaze. She has to plow her way through a plethora of tropes and characters, nearly all cardboard cut-out overly excited Xmas fans. It is through Holly's Kafkaesque vision we get to experience our own truth. Her passage must escalate towards a continuous struggle for survival. Alcohol is the only thing that's getting Holly through this. And that's quite often the only way for many of us as well.
The fun and weird parts: everyone in this town has cliché'd names. These ditzy Hallmark-like empty shells are barely human. They all speak in tongues and only Holly has a real response to all of it. The town's collective love for Christmas feels like needles being pushed under your fingernails, and Holly understands this. Hers is not cynicism: it's the unfolding of the blinds from our eyes. No one is spared, just like in the reality of The System of privacy-invading capitalism we are living in.
The parody is strong here. And poignant. It seems nearly every character has dead parents; or is widowed due to past bizarre accidents. A makeover results in unrealistically curly hair. Plus: being gayfriendly is now a new trope.
Note: the evil antagonist mainly attacks consumerism. As proven by the word they (singular) utter during their first attack ('Hot topic...'). Film academics will observe the TV channel boss is reminiscent of the executives in the 1976's masterpiece 'Network.'
This film I enjoyed on even more levels and layers that can be unpacked here. Romance and action were never more society-critical and accurately camp than this. So get yourself some 'liquid courage' and enjoy this flick.
Merry Chri... Holidays everyone!
Holly's perspective and response to it all is the only right way to deal with the illusion of the holiday's festive gaze. She has to plow her way through a plethora of tropes and characters, nearly all cardboard cut-out overly excited Xmas fans. It is through Holly's Kafkaesque vision we get to experience our own truth. Her passage must escalate towards a continuous struggle for survival. Alcohol is the only thing that's getting Holly through this. And that's quite often the only way for many of us as well.
The fun and weird parts: everyone in this town has cliché'd names. These ditzy Hallmark-like empty shells are barely human. They all speak in tongues and only Holly has a real response to all of it. The town's collective love for Christmas feels like needles being pushed under your fingernails, and Holly understands this. Hers is not cynicism: it's the unfolding of the blinds from our eyes. No one is spared, just like in the reality of The System of privacy-invading capitalism we are living in.
The parody is strong here. And poignant. It seems nearly every character has dead parents; or is widowed due to past bizarre accidents. A makeover results in unrealistically curly hair. Plus: being gayfriendly is now a new trope.
Note: the evil antagonist mainly attacks consumerism. As proven by the word they (singular) utter during their first attack ('Hot topic...'). Film academics will observe the TV channel boss is reminiscent of the executives in the 1976's masterpiece 'Network.'
This film I enjoyed on even more levels and layers that can be unpacked here. Romance and action were never more society-critical and accurately camp than this. So get yourself some 'liquid courage' and enjoy this flick.
Merry Chri... Holidays everyone!
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