‘The Advent Calendar’ Movie Review: A Countdown to Redemption
I’ve never really been interested in the lowkey subgenre of Christmastime horror films, probably because the intermingling of these two vastly diverging topics just seems so out of place and difficult to “get right,” whatever “right” might mean. In fact, the only one I can think of that I thought was actually well-done was the movie that perhaps truly ignited this entire hybrid species of genres, the original Black Christmas, from 1974. Mind you, this is also one of the very few holiday-themed horror films I’ve actually seen.
I understand that there were plenty of other horror films set around the holidays prior to Black Christmas, dating all the way back to the early 20th century, but none of them had the kind of impact that Black Christmas did, especially as the years went by and the film became a sort of cult classic. Most films in this subgenre, unfortunately, are cheesy slashers and forgotten B-movies that have really only tarnished whatever meager reputation these types of movies have in the horror community. Some of the titles alone reveal that this subgenre was never meant to be taken seriously, such as Silent Night, Deadly Night (1984), The Gingerdead Man (2005), and Jack Frost 2: Revenge of the Mutant Killer Snowman (2000).
Despite the genre’s unsavory history of flops, there seems to be at least one new title that pops up every season. This year, we unwrap The Advent Calendar, a French-Belgian film from Belgian writer-director Patrick Ridremont, who is actually better known as an actor and comedian of French cinema. Like the aforementioned films, The Advent Calendar also doesn’t take itself too seriously, but it’s certainly superior when it comes to things like the actors’ performances, its plot, and especially how the film was shot, setting itself apart from the dozens of direct-to-DVD or made-for-TV Yuletide horror movies from seasons past.
The Advent Calendar is anchored by the be-careful-what-you-wish-for trope that has become a familiar storyline in the horror realm. However, lead character Eva (played by Eugenie Derouand) doesn’t technically wish for what she receives. Instead, it is sort of forced upon her, after her good friend Sophie gifts her with an eclectic wooden advent calendar from a recent trip to Germany. Each mysterious door of the calendar must be opened by a key, revealing brightly-wrapped candies and chocolates that offer far more than meets the eye.
Eva, a former dancer who is now a paraplegic who must use a wheelchair to get around, is still understandably bitter over the loss of the use of her legs and refuses to discuss the subject altogether. At the same time, her aging father is suffering from Alzheimer’s and both her boss and stepmom are essentially assholes that make her life miserable. The advent calendar arrives at a time in Eva’s life in which she is at her worst and offers hope for the future, albeit misguided, as with every treat comes a rule and a sacrifice. Now, Eva must decide how much she is willing to sacrifice to sort of rewind time and start over anew.
There are plenty of fun and unique ideas here, and the performances are better than what you might expect out of a film like this, while there are also some great shots scattered throughout. However, the film lacks tension for the most part, relies heavily on exposition, and even gets downright silly at times…yet not enough to disengage the viewer. You might eventually struggle with relating to Eva and her decisions, perhaps even questioning yourself on what you would do in her situation. Or at least I did. And isn’t that what we’re all looking for in a film anyways? A story that keeps you engaged and makes you think and question your own life decisions, while allowing us to emphasize with vulnerable characters, such as one with restricted mobility. The horror factor is almost minimal here, even though there are multiple scenes in which Eva and other characters engage with a demon-like creature that seems to inhabit the advent calendar. But that’s okay, because masked maniacs and paranormal bogeymen are not essential to a good horror film anyways. Although they can help!
The Advent Calendar doesn’t rely on this demonic beast to draw you in, but rather focuses on Eva’s story, including her struggles as a paraplegic surrounded by a-holes, as well as her own inner demons and dilemmas. Ultimately, she goes places most of us would not, revealing just how strong her ambition to recover some of her past truly is. Sure, the film is far from perfect but it knows that it is, and rather than pretending to be something it’s not, it embraces the imagination and spirit of what you might expect when you merge Christmas with horror.
For the record, I’d give The Advent Calendar – which is streaming right now on Shudder – 3 stars out of 5.











