‘Tis the season to be jolly! The annual unveiling of Christmas films often promises a blend of festive cheer and cinematic charm, enticing viewers to immerse themselves in holiday magic. As seasoned connoisseurs of Yuletide storytelling, audiences have come to expect a certain warmth and joviality that makes this genre a perennial favourite. But amidst the abundance of heartwarming classics and cheesy rom-coms, there will be that occasional film that misses the mark, leaving audiences feeling more like The Grinch than Santa Claus.
Red One, presented by Amazon MGM, stakes its claim on the holiday lineup as a US$250 million outing, alongside a star-studded cast featuring Dwayne Johnson (Black Adam, Red Notice), Chris Evans (The Avengers, Fantastic Four), Lucy Liu (Charlie’s Angels, Kill Bill: Volume 1), and J. K. Simmons (Whiplash, Spider-Man), in an attempt to merge the jollity of Christmas with high-octane action, but they, along with everyone involved in this yuletide mess, should have their (chest)nuts roasted on a fireplace.

The film positions Johnson as Callum Drift, the head of security for Santa Claus (played by Simmons), who finds himself on the verge of retirement and disillusioned by the dwindling goodness in the world. Drift is thrust into an unlikely partnership with Evans’ Jack O’Malley, a master thief and self-proclaimed greatest hacker, nicknamed ‘The Wolf’, when Santa is kidnapped, prompting a frenzied globe-trotting mission to rescue him in time to save Christmas.
Director Jake Kasdan, who worked with Johnson on the rollicking Jumanji: Welcome to the Jungle (2017), attempts to recapture that film’s blend of humour and adventure but stumbles in his endeavour to balance Red One’s action with holiday heart. The film layers its narrative with a dense mythology involving Yoda-looking elves and a high-tech North Pole that feels more like a cold corporate headquarters than a merry workshop. The inclusion of advanced technology and acronyms like E.L.F. (Enforcement, Logistics, and Fortification) for Santa’s security team and M.O.R.A. (Mythological Oversight and Restoration Authority) adds a bureaucratic heaviness that further distances the story from its potentially lighter, more festive roots.

As the plot progresses, Drift and O’Malley are caught in a narrative web that involves hacking seismic systems, infiltrating concealed North Pole entry points, and a high-stakes rescue operation that feels more like a military mission dressed in red and green. Their quest for Santa takes a surreal turn when it leads them to Aruba – depicted by Hawaii’s picturesque landscapes – where our heroes contend with murderous snowmen.
The absurdity escalates when the plot thickens around Ted, a sleazy dealer played with relish by Big Mouth’s (2017-present) Nick Kroll, who reveals that Santa’s secret North Pole Headquarters has been compromised. The culprit? None other than Krampus, portrayed by Kristofer Hivju (Game of Thrones, The Fate of the Furious), the notorious creator of the Naughty List and Santa’s estranged adopted brother. As the action shifts to a gloomy castle in Berlin, reached through a magical portal hidden in a toy-shop’s closet, the film attempts to balance mythical elements with blockbuster brawls, but by this time, it feels like the tail end of a Christmas party where the food has been sitting out there for too long, is cold, and your extended family have overstayed their welcome.

Hollywood has a tradition of blending Christmas cheer with action – think David Harbour’s badass Santa in Violent Night (2022), a holiday film that manages to inject fun into the festive fight. Unfortunately, Red One is an overpacked and overstuffed stocking that fails to hold on to any Xmas spirit. The humour that should buoy the action is largely absent, with the cast delivering phoned-in performances that feel as frosty as the film’s artificial special effects and CGI, save for one standout performance.
Hivju, as a reimagined Krampus, channels the wild charisma of his Game of Thrones counterpart, Tormund Giantsbane. His portrayal, both menacing and mischievous, is a highlight in a cast otherwise shackled by a humourless script. Unfortunately, Hivju’s performance is stifled by an elaborate prosthetic suit, which, while visually striking, limits his expressive potential.

Krampus is not the only character that draws inspiration from various festive folklore in Alpine Europe. The screenplay by Fast & Furious alum Chris Morgan ventures further into mythological territory by introducing Grýla, the Christmas witch from Icelandic lore, portrayed by Kiernan Shipka (Chilling Adventures of Sabrina, Totally Killer). This character, intended to be a central antagonist alongside Krampus, fails to resonate with the audience. Despite Shipka’s efforts, Grýla comes off as a lesser antagonist, reminiscent of a secondary villain in a teen show on The CW Network – neither formidable nor memorable.
Even Johnson, typically a charismatic and engaging screen presence, delivers a surprisingly joyless performance. His portrayal of Drift, the disillusioned head of Santa’s security team, lacks the playful energy and self-aware humour that could have elevated the character. Instead, he comes across as a cynical and one-dimensional figure, a missed opportunity considering the film’s potential for meta-commentary and buddy-cop banter.
Alongside Johnson is Evans bringing a touch of humour and roguish charm to the rogue hacker O’Malley but he should really fire his agent. Between this, The Gray Man, Pain Hustlers and Ghosted, Evans seems dedicated to making terrible movies that don’t require much effort on his part. He tries to inject life into his role, but is often left navigating a confusing plot that jumps erratically from one set piece to another, without sufficient emotional grounding.

Simmons as Santa is an athletic, trendier version of his traditional counterpart and while he manages to inject a bit of fun into his limited screen time, but his dynamic presence is largely sidelined by his storyline as the kidnap victim, reducing his impact and leaving his character stranded from the main action.
The supporting cast, which boasts talented actors like Liu, doesn’t seem to fare any better. Liu, fresh off her impressive performance in thriller flick Presence (2024), is saddled with a generic role that offers little room for her to shine. It doesn’t help that her action scenes are abruptly cut in favour of more male-dominated sequences either. This unfortunately epitomises a broader issue within Red One: a congested narrative filled with action that feels more obligatory than inspired. From heavily armoured security details to bombastic set pieces that push the boundaries of PG-13 violence, the film struggles to find a balance between its comedic aspirations and its desire to deliver blockbuster thrills.

This struggle extends to the film’s target audience, which remains frustratingly unclear. While there are moments that suggest a more mature comedic sensibility, with jokes and subtle winks that would likely go over children’s heads, the film also seems to cater to a younger demographic with its over-the-top action and simplistic humour. This tonal dissonance creates a jarring viewing experience, leaving the audience unsure of who the film is truly intended for.
Ultimately, Red One is a missed opportunity to create a Christmas classic that could stand alongside beloved holiday films. Instead, it serves as a cautionary tale of how not to craft a festive film, emphasising spectacle over story to its detriment. Red One might have done better as a quieter, more focused affair, or perhaps as a direct-to-streaming release where its flaws might be softened by the generous moods of December binge-watchers. As a result, the film doesn’t just miss the mark – it lands on the naughty list, serving as a stark reminder that the heart of Christmas cannot be manufactured, even with the most sophisticated of technology.
GEEK REVIEW SCORE
Summary
Red One delivers a massive festive misfire, a reminder that even the most star-studded cast and extravagant special effects can’t salvage a film that lacks heart and a coherent narrative.
Overall
3.8/10-
Story - 3/10
3/10
-
Direction - 4/10
4/10
-
Characterisation - 4/10
4/10
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Geek Satisfaction - 4/10
4/10