The 13 Best Christmas Horror Movies

An injection of awe that ensures Christmas remains fun. Raise the cocoa, dim the lights, and cuddle around the warm glow of a smart TV you snatched from another shopper’s gloves on Black Friday for a festive movie night — but ditch Rudolph and this spooky genie. Why not welcome the dark side of Saint Nick’s toy bag into your life?

Spooky festive tales dare to defy shopaholic standards for manufactured delight draped in expensive tinsel and frozen snow-white. A mixture of horror and Christmas with decadence like liquid chocolate and mini marshmallows; wicked joy. More terror than you think lies beneath the mistletoe or wrapped by loyal helpers. Why not stay safe at home for the holidays, or accidentally slither into one of the Christmas demons below better trapped on your displays?

If you’re not feeling too excited, check out the best modern horror movies and our pick for the best horror movie of 2021.

Silent Night (2012)

Here’s a lively horror shot – Silent Night by Stephen C. Miller is better than Silent Night, Deadly Night by Charles Seiler Jr. at the slightest length of a pine needle. It’s an abominable carnage dripping with Christmastime decor and hateful carnage, and one of the “last” of its kind by the standards of post-2012 horror. It has everything on your wish list, from Malcolm McDowell screaming about avocado on a hamburger to flamethrowers for roasting chestnuts and walnuts. From recalls of synthetic antler memorabilia to new expressions of violence like a poor soul running with a lumberjack. Miller hits all cylinders in this remake that stands well on its own, enabled by not caring to play nice even by the usual dreaded fan expectations. It is not a stocking filler. It is the whole present.


Jack Frost is a children’s play but with chemicals instead of voodoo spells and a killer snowman instead of a killer doll. You’ll learn about pre-American pie Shannon Elizabeth in Michael Cooney’s setting of Frosty the Snowman, as the titular Jack deserts the townspeople in an array of deadly ways. Maybe she hugs you to death in the shower or chokes on colorful Christmas lights before you choke on the decorations. Jack Frost continues the series outburst in Snowmonton, USA – with his new, frozen sporty style – voiced by Scott MacDonald as directed by Freddy Krueger and Chucky. While it’s not quite suitable content for the whole family, it does score a midnight score because the humor isn’t hidden or ignored – the situation deals more with laughter than seriousness.

Silent Night (2021)

New in Canon of Holiday Horror is Camille Griffin’s Silent Night, a lively evening about friends who share the spirit of Christmas before the end of humanity. Guests debate whether Mother Earth is finally revolting or the Russians have embarked on their master plan for the apocalypse, but the fate of our civilization is inevitable – poison gas will swallow up every nation. The UK runs until Christmas, giving characters played by Keira Knightley, Matthew Goode, Kirby Howell Baptist, and more than one celebration last December. Guts sip champagne and debate the ethics of their government’s issued suicide pills to spare the “inevitable” torment, as the countdown clock creates enough social distortion to stir up a little tension among the comrades. It’s a quirky take on dinner-party from Hell, featuring themes going down with giggles since Griffin’s drive to grunt and snorer has become taut like a noose.

A Christmas Horror Story stands above all other Christmas horror anthology because of its unrelenting commitment to darkness. William Shatner narrates and serves as our wrapped host playing “Dangerous Dan,” an alcoholic radio DJ whose smooth sound intersects in and out of four chilling chapters. Changelings infiltrate families, abused ghosts have schoolgirls, and Santa (George Buza) battles zombie elves before taking on the pro wrestling version of Krampus (Rob Archer). I don’t want to over-sell the “good versus evil” battle that occurs when the muscular Krampus starts swinging his chain in front of Santa Claus, but it’s a fatal battle. There is a great deal of bleak news packed into every part, and it all culminates in a psychotic break that sells the horrific vulnerability that Christmas horror catharsis allows.

better watch out

If you’ve avoided spoilers for Better Watch Out thus far, I suggest you stop reading this entry and come back once you watch Chris Peckover’s thriller about the babysitter. There’s a babysitter crush (Olivia Dejung), an adorable off-duty boy (Levi Miller), and a boy’s stupid best friend (Ed Oxenbold). Hot savior from Stranger Things (Dacre Montgomery) pops up for some backyard antics. There’s also bloodshed, deceptive intent, and a ruthless myth-busting from Home Alone that proves that traps are actually much more destructive. I don’t want to reveal more than just admiring the performance at hand – it is better to leave the methods and reasons for the first trials.

Anna and the end of the world

Was there ever a more perfect Scottish musical group of zombies around Christmas than Anna and the Apocalypse? John McPhail’s seasonal addiction gives a middle finger to High School Musical sugarcoating and strikes the zombie apocalypse as Anna (Ella Hunt) sings her way through a winter wonderland of zombies. The soundtrack is incredibly catchy from “Hollywood Ending” to “Soldier At War,” while the horror elements don’t skimp on ferocity or bobbing heads. It epitomizes despondency when holiday cheer is poked around every corner, but not without taking advantage of the subsequent feelings of joy that escalated past the cynicism. It’s the ultimate flick of complacency Not Lying About the World’s Uglyness, delivered as one of the most uniquely ambitious horror films—Christmastime or not—since release.


You can’t talk about Christmas horror without Michael Dougherty Krampus. The sinister freak of WETA Workshop’s perverted games – snarling teddy bears, Jack in the Box demons who devour children as anacondas do – help build Dougherty’s prison universe. The crazy man behind the Trick ‘r Treat proves similar prowess at capturing notable Christmas interests, from consumerism to unsavory extended family members. A cast including Adam Scott, Toni Collette and David Kushner fend for themselves against hordes of elves and gingerbread ninjas, as childhood memories cloud during the invasion of Krampus. The essence of the holiday’s bliss becomes a lesson for those who have taken so much for granted, all before the snowy globe-end teasers that were supposed to give us at least three more sequels so far. Why wouldn’t the studios allow Dougherty the opportunity to create the legacies of the franchise when they deserved it?

The Nightmare Before Christmas

What is that? stop motion? Jack Skellington? The Nightmare Before Christmas might be kid-friendly, but that doesn’t diminish the horror effects of Oogie Boogie’s burlap swag. There’s fun uniting Jack of Fears and fig pudding, because everyone deserves to experience Santa’s magic at least once. There are also influences on general topics to live outside of the sortable boxes. The Nightmare Before Christmas is a massive art design that has become popular across pop culture for a reason, along with Danny Elfman’s vocal performance as just one of many singers throughout the cast of Silly Creations. this is being For the whole family it must be shared regardless of the time of year.

Black Christmas (1974)

Bob Clarke—one of the ancestors of modern slashers—helped grow the genre movement. Black Christmas has perfected the stalking and stabbing model to be repeated until human extinction, yet it hasn’t been much outdone. Olivia Hussey, Margot Kidder, and Marian Waldman occupy a sorority home with terrified sisters and caregivers who generate gallons of transmissible fear. Deaths have more to do with the innocence that is erased than with how the corpses are regretted, because Billy’s staring through a peephole or harmful phone calls are always the scariest sounds and sights. It’s Christmas, the girls won’t come home to their parents, and no one can tell why – that’s all it takes for a black Christmas to become a kind of king. A classic case of victorious execution because every good horror movie begins with a tight narrative, and that’s a lesson filmmakers should remember.


Gremlins is the pinnacle of holiday horror in the way witch dolls revive the turbulent Gremlin takeover and chaotically translate cartoonish delight into live-action casts. Gizmo the Mogwai is everyone’s favorite pet they will never own; Spotted and scaly green ghrelins are masters of the hijinx from pub crabs to Snow White and the mumbling seven dwarfs. Zach Galligan and Phoebe Cates interact naturally with their co-stars, in the same way Joe Dante brings mischievous rubber bands through special effects. Gizmo steals your heart with every wide-eyed grin, and Keats wreaks havoc on your soul thanks to the most heartbreaking Christmas monologue because Gremlins aren’t just about yucks. It’s endlessly entertaining, but never underestimated because Chris Columbus’ horrific tale beats the highlights of the Joker.

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