The Creepy Believer: I Believe in Santa
Aisha Harris admits she normally has “a pretty high tolerance for bad Christmas romantic comedies.” This Netflix offering from 2022, however, crossed lines she didn’t know existed.
What if Elf or Miracle on 31 Street were supremely creepy? That is the premise of this movie.
Lisa, a newspaper writer stuck covering holiday fluff pieces, falls for Tom, a seemingly normal lawyer. Everything seems fine until Christmas rolls around and Lisa discovers Tom genuinely believes Santa Claus is real.
Faith or Delusion?
Harris explains that Tom “likens his faith in Santa Claus to a religious belief that adults just don’t get.” After enough eggnog, maybe that tracks—but sober reflection reveals something unsettling.
She questions whether the film attempts to portray Tom as “a persecuted minority because he believes in Santa Claus.” What’s meant to be whimsical instead lands somewhere between uncomfortable and bizarre.
The Canonized Disappointment: Love Actually
Wailin Wong takes aim at perhaps the most beloved—and divisive—holiday film of all time.
Richard Curtis’s 2003 ensemble romance features Hugh Grant, Emma Thompson, Alan Rickman, Keira Knightley, Laura Linney, and Colin Firth. Despite critical acclaim and devoted fans, Wong argues it fails spectacularly at being either romantic or comedic.
I have resented this movie getting canonized as the ultimate holiday rom-com — or even a rom-com at all — because to me, it fails as a rom-com.
Too Many Stories, Too Little Romance
Wong identifies several critical flaws. First, Love Actually juggles too many storylines, and “only a few of them are even a little bit romantic.” Most prove “super sad, or just kind of nothing-burgers.”
The opening monologue mentions 9/11. Wong’s response? “No, thank you. Why are we talking about 9/11 in the opening minutes of a rom-com?”
She also notes the script contains “weirdly fatphobic” elements that become obvious on rewatch.
That “Romantic” Cue Card Scene
Wong reserves her strongest criticism for what many consider the film’s most iconic moment. Andrew Lincoln’s character shows up at Keira Knightley’s door with cue cards declaring his love—despite her being married to his best friend.
This scene has been “sold to us as the ultimate grand romantic gesture,” Wong explains, but she sees it as “the height of narcissism” and “so selfish.”
The Sincere Misfire: Scrooge and Marley
Glen Weldon’s pick is a 2012 gay reimagining of A Christmas Carol set in modern Chicago. Before describing it, he addresses obvious questions:
Number one, is it narrated by Judith Light? Yes, it is narrated by Judith Light. Another: Who plays Fezziwig? Is it Bruce Vilanch? Bruce Vilanch does play Fezziwig, because Bruce Vilanch is what happens when you can’t meet Harvey Fierstein’s quote.
Ben Scrooge owns a gay piano bar, despises Christmas, and gets visited by ghosts for tours through Chicago’s past, present, and future. The production quality screams low budget—”filmed in cramped, underlit Chicago apartments and bars.”
Product Placement and Raw Sincerity
Weldon notes the producers thank exactly two companies: Absolut Vodka and Grindr.
Despite his criticism, Weldon admits he doesn’t genuinely believe this deserves “worst of all time” status. The film “exudes exactly what you expect it to exude, which is raw sincerity and sentimentality.”
Those qualities might repel viewers like Weldon, who describes having “a desiccated husk where a heart should be,” but someone else might actually enjoy it. “Not likely,” he concedes, “but entirely possible.”
What Makes Holiday Movies Truly Terrible?
These four films fail in distinctly different ways, revealing what actually ruins holiday cinema:
- Hypocritical messaging that criticizes commercialism while drowning in product placement
- Creepy premises dressed up as wholesome entertainment
- Narcissistic gestures marketed as romance
- Low-budget sincerity that lands as unintentional comedy
Bad holiday movies might strain credibility, recycle tired tropes, or treat beloved characters poorly. Yet they spark passionate debates year after year, proving that arguing about terrible Christmas films might be its own holiday tradition.
Whether commercialism wrapped in anti-commercial messaging or romantic gestures that feel more invasive than heartwarming, these films remind viewers that not all holiday cheer comes equally wrapped.
Stretched Beyond Breaking Point
The fundamental problem? Thompson argues that Jingle All The Way has enough material for maybe a sitcom episode but gets stretched to 90 excruciating minutes.
Even comedy legend Phil Hartman couldn’t salvage it. Thompson notes Hartman “has a ton of scenes, none of which are funny.”
Perhaps most damning: the film barely delivers any actual redemption. Thompson observes that “very little lesson-learning happens,” with only the child character gaining perspective—played by Jake Lloyd, who would later portray young Anakin Skywalker before leaving acting entirely.
The cherry on top? A 2014 sequel starring Larry the Cable Guy with exactly zero returning cast members.
The Creepy Believer: I Believe in Santa
Aisha Harris admits she normally has “a pretty high tolerance for bad Christmas romantic comedies.” This Netflix offering from 2022, however, crossed lines she didn’t know existed.
What if Elf or Miracle on 31 Street were supremely creepy? That is the premise of this movie.
Lisa, a newspaper writer stuck covering holiday fluff pieces, falls for Tom, a seemingly normal lawyer. Everything seems fine until Christmas rolls around and Lisa discovers Tom genuinely believes Santa Claus is real.
Faith or Delusion?
Harris explains that Tom “likens his faith in Santa Claus to a religious belief that adults just don’t get.” After enough eggnog, maybe that tracks—but sober reflection reveals something unsettling.
She questions whether the film attempts to portray Tom as “a persecuted minority because he believes in Santa Claus.” What’s meant to be whimsical instead lands somewhere between uncomfortable and bizarre.
The Canonized Disappointment: Love Actually
Wailin Wong takes aim at perhaps the most beloved—and divisive—holiday film of all time.
Richard Curtis’s 2003 ensemble romance features Hugh Grant, Emma Thompson, Alan Rickman, Keira Knightley, Laura Linney, and Colin Firth. Despite critical acclaim and devoted fans, Wong argues it fails spectacularly at being either romantic or comedic.
I have resented this movie getting canonized as the ultimate holiday rom-com — or even a rom-com at all — because to me, it fails as a rom-com.
Too Many Stories, Too Little Romance
Wong identifies several critical flaws. First, Love Actually juggles too many storylines, and “only a few of them are even a little bit romantic.” Most prove “super sad, or just kind of nothing-burgers.”
The opening monologue mentions 9/11. Wong’s response? “No, thank you. Why are we talking about 9/11 in the opening minutes of a rom-com?”
She also notes the script contains “weirdly fatphobic” elements that become obvious on rewatch.
That “Romantic” Cue Card Scene
Wong reserves her strongest criticism for what many consider the film’s most iconic moment. Andrew Lincoln’s character shows up at Keira Knightley’s door with cue cards declaring his love—despite her being married to his best friend.
This scene has been “sold to us as the ultimate grand romantic gesture,” Wong explains, but she sees it as “the height of narcissism” and “so selfish.”
The Sincere Misfire: Scrooge and Marley
Glen Weldon’s pick is a 2012 gay reimagining of A Christmas Carol set in modern Chicago. Before describing it, he addresses obvious questions:
Number one, is it narrated by Judith Light? Yes, it is narrated by Judith Light. Another: Who plays Fezziwig? Is it Bruce Vilanch? Bruce Vilanch does play Fezziwig, because Bruce Vilanch is what happens when you can’t meet Harvey Fierstein’s quote.
Ben Scrooge owns a gay piano bar, despises Christmas, and gets visited by ghosts for tours through Chicago’s past, present, and future. The production quality screams low budget—”filmed in cramped, underlit Chicago apartments and bars.”
Product Placement and Raw Sincerity
Weldon notes the producers thank exactly two companies: Absolut Vodka and Grindr.
Despite his criticism, Weldon admits he doesn’t genuinely believe this deserves “worst of all time” status. The film “exudes exactly what you expect it to exude, which is raw sincerity and sentimentality.”
Those qualities might repel viewers like Weldon, who describes having “a desiccated husk where a heart should be,” but someone else might actually enjoy it. “Not likely,” he concedes, “but entirely possible.”
What Makes Holiday Movies Truly Terrible?
These four films fail in distinctly different ways, revealing what actually ruins holiday cinema:
- Hypocritical messaging that criticizes commercialism while drowning in product placement
- Creepy premises dressed up as wholesome entertainment
- Narcissistic gestures marketed as romance
- Low-budget sincerity that lands as unintentional comedy
Bad holiday movies might strain credibility, recycle tired tropes, or treat beloved characters poorly. Yet they spark passionate debates year after year, proving that arguing about terrible Christmas films might be its own holiday tradition.
Whether commercialism wrapped in anti-commercial messaging or romantic gestures that feel more invasive than heartwarming, these films remind viewers that not all holiday cheer comes equally wrapped.
Stretched Beyond Breaking Point
The fundamental problem? Thompson argues that Jingle All The Way has enough material for maybe a sitcom episode but gets stretched to 90 excruciating minutes.
Even comedy legend Phil Hartman couldn’t salvage it. Thompson notes Hartman “has a ton of scenes, none of which are funny.”
Perhaps most damning: the film barely delivers any actual redemption. Thompson observes that “very little lesson-learning happens,” with only the child character gaining perspective—played by Jake Lloyd, who would later portray young Anakin Skywalker before leaving acting entirely.
The cherry on top? A 2014 sequel starring Larry the Cable Guy with exactly zero returning cast members.
The Creepy Believer: I Believe in Santa
Aisha Harris admits she normally has “a pretty high tolerance for bad Christmas romantic comedies.” This Netflix offering from 2022, however, crossed lines she didn’t know existed.
What if Elf or Miracle on 31 Street were supremely creepy? That is the premise of this movie.
Lisa, a newspaper writer stuck covering holiday fluff pieces, falls for Tom, a seemingly normal lawyer. Everything seems fine until Christmas rolls around and Lisa discovers Tom genuinely believes Santa Claus is real.
Faith or Delusion?
Harris explains that Tom “likens his faith in Santa Claus to a religious belief that adults just don’t get.” After enough eggnog, maybe that tracks—but sober reflection reveals something unsettling.
She questions whether the film attempts to portray Tom as “a persecuted minority because he believes in Santa Claus.” What’s meant to be whimsical instead lands somewhere between uncomfortable and bizarre.
The Canonized Disappointment: Love Actually
Wailin Wong takes aim at perhaps the most beloved—and divisive—holiday film of all time.
Richard Curtis’s 2003 ensemble romance features Hugh Grant, Emma Thompson, Alan Rickman, Keira Knightley, Laura Linney, and Colin Firth. Despite critical acclaim and devoted fans, Wong argues it fails spectacularly at being either romantic or comedic.
I have resented this movie getting canonized as the ultimate holiday rom-com — or even a rom-com at all — because to me, it fails as a rom-com.
Too Many Stories, Too Little Romance
Wong identifies several critical flaws. First, Love Actually juggles too many storylines, and “only a few of them are even a little bit romantic.” Most prove “super sad, or just kind of nothing-burgers.”
The opening monologue mentions 9/11. Wong’s response? “No, thank you. Why are we talking about 9/11 in the opening minutes of a rom-com?”
She also notes the script contains “weirdly fatphobic” elements that become obvious on rewatch.
That “Romantic” Cue Card Scene
Wong reserves her strongest criticism for what many consider the film’s most iconic moment. Andrew Lincoln’s character shows up at Keira Knightley’s door with cue cards declaring his love—despite her being married to his best friend.
This scene has been “sold to us as the ultimate grand romantic gesture,” Wong explains, but she sees it as “the height of narcissism” and “so selfish.”
The Sincere Misfire: Scrooge and Marley
Glen Weldon’s pick is a 2012 gay reimagining of A Christmas Carol set in modern Chicago. Before describing it, he addresses obvious questions:
Number one, is it narrated by Judith Light? Yes, it is narrated by Judith Light. Another: Who plays Fezziwig? Is it Bruce Vilanch? Bruce Vilanch does play Fezziwig, because Bruce Vilanch is what happens when you can’t meet Harvey Fierstein’s quote.
Ben Scrooge owns a gay piano bar, despises Christmas, and gets visited by ghosts for tours through Chicago’s past, present, and future. The production quality screams low budget—”filmed in cramped, underlit Chicago apartments and bars.”
Product Placement and Raw Sincerity
Weldon notes the producers thank exactly two companies: Absolut Vodka and Grindr.
Despite his criticism, Weldon admits he doesn’t genuinely believe this deserves “worst of all time” status. The film “exudes exactly what you expect it to exude, which is raw sincerity and sentimentality.”
Those qualities might repel viewers like Weldon, who describes having “a desiccated husk where a heart should be,” but someone else might actually enjoy it. “Not likely,” he concedes, “but entirely possible.”
What Makes Holiday Movies Truly Terrible?
These four films fail in distinctly different ways, revealing what actually ruins holiday cinema:
- Hypocritical messaging that criticizes commercialism while drowning in product placement
- Creepy premises dressed up as wholesome entertainment
- Narcissistic gestures marketed as romance
- Low-budget sincerity that lands as unintentional comedy
Bad holiday movies might strain credibility, recycle tired tropes, or treat beloved characters poorly. Yet they spark passionate debates year after year, proving that arguing about terrible Christmas films might be its own holiday tradition.
Whether commercialism wrapped in anti-commercial messaging or romantic gestures that feel more invasive than heartwarming, these films remind viewers that not all holiday cheer comes equally wrapped.
Holiday movies spark heated debates every December, and for good reason.
Some films deliver heartwarming magic, while others serve up cringe-worthy clichés wrapped in fake snow and forced sentiment.
NPR’s Pop Culture Happy Hour recently tackled the ultimate question: what’s the worst Christmas movie of all time?
Four critics weighed in with passionate cases against their least favorite holiday films, from commercialism masquerading as satire to romantic gestures that land somewhere between narcissistic and creepy.
The Commercialism Offender: Jingle All The Way
Stephen Thompson’s pick might surprise fans of Arnold Schwarzenegger’s 1996 “family comedy,” but his reasoning cuts straight to what makes holiday movies truly unwatchable.
When you break it down, what makes a Christmas movie bad? I don’t think you can come up with a better metric than purports to satirize or comment upon commercialism while being 100% steeped in it, and refusing to undermine it in any way.
Thompson describes Jingle All The Way as falling squarely into “the colossally large genre of ’90s family comedies about terrible fathers.” Schwarzenegger plays a workaholic dad desperate to secure the season’s hottest toy for his son, with Sinbad as his bumbling rival.
Stretched Beyond Breaking Point
The fundamental problem? Thompson argues that Jingle All The Way has enough material for maybe a sitcom episode but gets stretched to 90 excruciating minutes.
Even comedy legend Phil Hartman couldn’t salvage it. Thompson notes Hartman “has a ton of scenes, none of which are funny.”
Perhaps most damning: the film barely delivers any actual redemption. Thompson observes that “very little lesson-learning happens,” with only the child character gaining perspective—played by Jake Lloyd, who would later portray young Anakin Skywalker before leaving acting entirely.
The cherry on top? A 2014 sequel starring Larry the Cable Guy with exactly zero returning cast members.
The Creepy Believer: I Believe in Santa
Aisha Harris admits she normally has “a pretty high tolerance for bad Christmas romantic comedies.” This Netflix offering from 2022, however, crossed lines she didn’t know existed.
What if Elf or Miracle on 31 Street were supremely creepy? That is the premise of this movie.
Lisa, a newspaper writer stuck covering holiday fluff pieces, falls for Tom, a seemingly normal lawyer. Everything seems fine until Christmas rolls around and Lisa discovers Tom genuinely believes Santa Claus is real.
Faith or Delusion?
Harris explains that Tom “likens his faith in Santa Claus to a religious belief that adults just don’t get.” After enough eggnog, maybe that tracks—but sober reflection reveals something unsettling.
She questions whether the film attempts to portray Tom as “a persecuted minority because he believes in Santa Claus.” What’s meant to be whimsical instead lands somewhere between uncomfortable and bizarre.
The Canonized Disappointment: Love Actually
Wailin Wong takes aim at perhaps the most beloved—and divisive—holiday film of all time.
Richard Curtis’s 2003 ensemble romance features Hugh Grant, Emma Thompson, Alan Rickman, Keira Knightley, Laura Linney, and Colin Firth. Despite critical acclaim and devoted fans, Wong argues it fails spectacularly at being either romantic or comedic.
I have resented this movie getting canonized as the ultimate holiday rom-com — or even a rom-com at all — because to me, it fails as a rom-com.
Too Many Stories, Too Little Romance
Wong identifies several critical flaws. First, Love Actually juggles too many storylines, and “only a few of them are even a little bit romantic.” Most prove “super sad, or just kind of nothing-burgers.”
The opening monologue mentions 9/11. Wong’s response? “No, thank you. Why are we talking about 9/11 in the opening minutes of a rom-com?”
She also notes the script contains “weirdly fatphobic” elements that become obvious on rewatch.
That “Romantic” Cue Card Scene
Wong reserves her strongest criticism for what many consider the film’s most iconic moment. Andrew Lincoln’s character shows up at Keira Knightley’s door with cue cards declaring his love—despite her being married to his best friend.
This scene has been “sold to us as the ultimate grand romantic gesture,” Wong explains, but she sees it as “the height of narcissism” and “so selfish.”
The Sincere Misfire: Scrooge and Marley
Glen Weldon’s pick is a 2012 gay reimagining of A Christmas Carol set in modern Chicago. Before describing it, he addresses obvious questions:
Number one, is it narrated by Judith Light? Yes, it is narrated by Judith Light. Another: Who plays Fezziwig? Is it Bruce Vilanch? Bruce Vilanch does play Fezziwig, because Bruce Vilanch is what happens when you can’t meet Harvey Fierstein’s quote.
Ben Scrooge owns a gay piano bar, despises Christmas, and gets visited by ghosts for tours through Chicago’s past, present, and future. The production quality screams low budget—”filmed in cramped, underlit Chicago apartments and bars.”
Product Placement and Raw Sincerity
Weldon notes the producers thank exactly two companies: Absolut Vodka and Grindr.
Despite his criticism, Weldon admits he doesn’t genuinely believe this deserves “worst of all time” status. The film “exudes exactly what you expect it to exude, which is raw sincerity and sentimentality.”
Those qualities might repel viewers like Weldon, who describes having “a desiccated husk where a heart should be,” but someone else might actually enjoy it. “Not likely,” he concedes, “but entirely possible.”
What Makes Holiday Movies Truly Terrible?
These four films fail in distinctly different ways, revealing what actually ruins holiday cinema:
- Hypocritical messaging that criticizes commercialism while drowning in product placement
- Creepy premises dressed up as wholesome entertainment
- Narcissistic gestures marketed as romance
- Low-budget sincerity that lands as unintentional comedy
Bad holiday movies might strain credibility, recycle tired tropes, or treat beloved characters poorly. Yet they spark passionate debates year after year, proving that arguing about terrible Christmas films might be its own holiday tradition.
Whether commercialism wrapped in anti-commercial messaging or romantic gestures that feel more invasive than heartwarming, these films remind viewers that not all holiday cheer comes equally wrapped.