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It’s that time of year where multiplexes across the nation prepare to serve up Christmas fare as sugary as a cup of eggnog. The love-to-hate-it schmaltz and syrupiness of it all can be pleasant for sure, if the output is something wittier and more starry-eyed than “Last Christmas,” a seasonal rom-com with little romance and even fewer laughs to spare. A shame, as its blindingly trimmed package is shiny enough—directed by the comedy genius Paul Feig (“ Bridesmaids ”), co-scripted by Emma Thompson and Bryony Kimmings , starring Emilia Clarke of “Game of Thrones” and Henry Golding , who left his mark on “ Crazy Rich Asians ” as a timeless leading man. Plus, there is the wall-to-wall George Michael soundtrack, including “This Is How (We Want You to Get High),” a handsome, never-before-released song from the late artist, serving as the pretty bow on top. And yet, what’s inside this gift box feels curiously joyless for what looks to be a foolproof recipe on paper—“Last Christmas” only succeeds in reminding you pre-Thanksgiving that soon it will be holiday shopping time, rejoice!

But if you’re the type who loves to visit year-around Christmas stores in July—like the overstuffed one the frantic Londoner Kate (Clarke, generically endearing) works at—then you might find some magic in “Last Christmas,” however stale. Just don’t expect the card-carrying George Michael fan Kate to be the spreader of holiday cheer here. Clad in an elf costume and matching pointy slippers she might be, but the former chorus girl with dreams of a stage career is more a mess-maker than an organized helper of Santa. And by Santa, I mean a character with a self-chosen name played by Michelle Yeoh (creating what wonder she can with her cringe-worthy part), who owns the shop “Yuletide Wonderful” on a busy, twinkling square of London and expects great things from Kate with a tough, maternal sort of affection. Meanwhile Kate—donned in a leopard coat when she’s not selling peculiar trinkets—keeps running late for work, making bad decision after bad decision, couch-surfing (London circa 2017 doesn’t appear to be a reasonable city on an elf’s salary) and braving her familial problems. Not to mention a mysterious heart defect she struggles with—we learn in bits and pieces that she had recently been taken ill with certain complications and can’t afford to lead an irresponsible lifestyle.

Her family, immigrants from former Yugoslavia, certainly thinks so. There is her over-concerned, guilt-tripping mom Petra (Thompson, bit of an offensive caricature of an émigré) who intensely dotes on her two daughters—the other one being the dependable and disciplined Marta ( Lydia Leonard ), who hides from her parents that she is a lesbian in a stable relationship. There is also their hardworking father Ivan (Boris Isaković), who’s made a good home for his family in London. Still, something seems to be missing from Kate’s life in the waning days of 2017, despite being surrounded by supportive figures she doesn’t quite deserve the sympathy of. Then comes along the mysterious Tom (Golding, making good use of his effortless charms), appearing from out of nowhere, bringing Kate’s guard down slowly and igniting both a sense of kindness and self-worth in her; so much that with Tom’s influence, Kate starts volunteering at a homeless shelter on a frequent basis.

Rest assured, there will be a “ Love Actually ”-esque performance to cap off the romp and a twisty pay-off (albeit, a frustrating one) to conclude its “ Just Like Heaven ” vibe that manages to romanticize sparkly streets of London more than the couple that strolls through them. While “Last Christmas” does a decent job of cozily resolving Kate’s family issues and through Gary Freeman ’s production design, transforming London into a jolly old holiday greeting card, it forgets to build chemistry between its seeming lovebirds, who live inside the lyrics of the eponymous Wham! tune more than they realize. It doesn’t help that neither Yeoh nor Thompson play a character that remotely resembles real people in a film that only brushes over the anxieties of immigrants in the still-early days of Brexit. There will be fans of this intensely rich Christmas pudding—always a better idea in theory than practice—but you might find you’ve had more than enough after only a couple of bites.

Tomris Laffly

Tomris Laffly is a freelance film writer and critic based in New York. A member of the New York Film Critics Circle (NYFCC), she regularly contributes to  RogerEbert.com , Variety and Time Out New York, with bylines in Filmmaker Magazine, Film Journal International, Vulture, The Playlist and The Wrap, among other outlets.

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Last Christmas (2019)

Rated PG-13 for language and sexual content.

102 minutes

Emilia Clarke as Kate

Henry Golding as Tom

Emma Thompson as Adelia

Michelle Yeoh as Santa

Patti Lupone as Joyce

Writer (story by)

• Emma Thompson
• Bryony Kimmings

Cinematographer

• John Schwartzman
• Brent White
• Theodore Shapiro

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Film Review: ‘Last Christmas’

Emilia Clarke and Henry Golding are the appealing stars of a fairy-tale London romantic comedy that's too precious and contrived to take wing.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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In recent years, the romantic comedy has taken a sabbatical, at least from the big screen (it seems to have adopted temporary legal-resident status on Netflix). Yet it’s clear that one can point to the occasional exception: the puckishly delightful and moving 2017 indie hit “The Big Sick,” or last year’s “Crazy Rich Asians,” which was such an immersive cross-cultural fairy tale of love, class, and global sci-fi-surreal decor that the shimmering romance at its center was just one of its many entrancements. Even in their success, though, you couldn’t say that either of those movies exactly re-opened the floodgates of romantic comedy. So what are love-starved moviegoers to do?

On paper, “ Last Christmas ” would seem to be just what the holiday rom-com doctor ordered. It’s got two terrific stars: Emilia Clarke , from “Game of Thrones,” a wild card of an actress who plays the likably slovenly and messed-up Kate, one of those characters who can squeeze a moment-to-moment ragged exuberance out of how little they have their life together; and Henry Golding , the elegantly charismatic co-star of “Crazy Rich Asians,” who plays Tom, a mysterious stranger who is sweet and gentle and perfect in every way — and is therefore somewhat less perfect than he appears, though we spend much of the film wondering how, exactly, that will turn out to be true.

“Last Christmas” was directed by Paul Feig, who also directed “Bridesmaids” (the finest romantic comedy of the century so far), and it was co-written by Emma Thompson and Bryony Kimmings (from a story by Thompson and her husband, Greg Wise), so it would seem to have the potential to be the kind of witty sparkling bauble we prize the genre for. In theory, the film has a number of things going for it — a spun-sugar atmosphere of confectionary longing, and the fact that it’s built around the songs of George Michael, an artist who should really be the subject of a jukebox musical (instead of “Jersey Boys,” you could call it “East End Boy,” and it could play for years), because his songs, even if you already love them, have a way of growing with time. “Last Christmas” opens in Yugoslavia in 1999, where Kate (or, as she was known then, Katarina) is singing the lead on Michael’s “Heal the Pain” in a church choir performance, and it’s gorgeous.

The other dimension of “Last Christmas” that feels promising is the fact that it unfolds in a rambunctious Yuletide version of London. In the three decades since the rom-com came roaring back, with the one-two-three punch of “When Harry Met Sally,” “Pretty Woman,” and “Sleepless in Seattle,” the genre, as it went through its ups and downs, was often saved by an injection of British sauciness. It happened in 1994, with “Four Weddings and a Funeral,” and in 1999, with “Notting Hill,” and in 2001, with “Bridget Jones’s Diary.” Sure, Hugh Grant starred in all those films, but it was about more than him — it was about the way that Andie MacDowell, Julia Roberts, and Renée Zellweger found stylish new ways of jousting, playing off that English blend of reticence and acidity, serving up the sentiment with a bittersweet edge.

And yet…as much as we go into “Last Christmas” eager to see a nicely wrapped package of acerbic fun, the film falls short of that. It’s not so much clever, toasty, and affectionate as it is the faux version of those things. It’s twee, it’s precious, it’s forced. And it’s light on true romance, maybe because the movie itself is a little too in love with itself.

Kate, who emigrated to England with her family from Yugoslavia to escape the terrible war there, now works as a clerk in one of those year-round Christmas boutiques. Her boss, played by Michelle Yeoh, calls herself Santa and drops quirky obscenities that the movie presents way too winkingly. Kate is the aggravating and adorable screw-up, who treats the customers like crap and keeps doing things like forgetting to lock the door at night, which allows a burglar to come in and trash the place. (That’s her karma.) But when she spies Tom outside the shop, gazing into the sky (it turns out he’s looking at a bird), she has found someone who can set her straight.

Tom is a dapper dude, so old-fashioned in spirit that he seems to dance when he walks. The two keep running into each other, and he turns out to be the kind of free-spirited, low-maintenance knight — he doesn’t carry a cell phone! he volunteers in a homeless shelter! — who’s like a parody of rom-com gallantry. But as much as I hate to say it, the whole movie plays like an unintentional parody of romantic comedy — it seems caught between flakiness and an out-of-date sort of whimsical sincerity.

Kate and Tom’s relationship consists of hanging out. And talking. And saying goodnight. And doing it all over again. There’s no conflict, no momentum, no dramatic-comedic spark plug. (But there’s a trick the film’s going to spring on you.) One of the ironies of the Wham! song “Last Christmas,” which obviously figures majorly in this movie, is that it became a Yuletide radio perennial even though it’s not really a Christmas song; it just sounds like one. (It’s a George Michael broken-heart song.) “Last Christmas” extends the irony by taking the lyrics so literally that when the movie does its big reveal, you’re not sure whether to swoon or collapse into vaguely annoyed giggles.

Kate, we learn, is such a scattered personality because she can’t stand her family, especially her mother, one of those noodgy Slavic matriarchs who speaks in an accent as thick as goulash and guilt-trips her children the way most of us breathe. Her name is Petra, and she’s played by Emma Thompson, who’s supposed to be so lugubrious she’s hilarious, but the only real joke is that we know, under the trappings, that it’s her. For a movie that comes on like it’s tweaking stereotypes, “Last Christmas” has a distinct tendency to stumble into them — like, for instance, the way it exploits the Michelle Yeoh character’s broken English, or treats Kate’s decision to volunteer at the homeless shelter as a signifier of her enlightenment (how 1980s!). Even a rom-com should have room for a wild feeling or two, but “Last Christmas” is an example of a romantic comedy that just about connects the dots, if not the sutures, to put its heart in the right place.

Reviewed at Bryant Park Screening Room, New York, Oct. 30, 2019. MPAA Rating: PG-13. Running time: 102 MIN.

• Production: A Universal Pictures release of a Perfect World Pictures, Feigco Entertainment production. Producers: Erik Baiers, Jessie Henderson, David Livingstone, Emma Thompson. Executive producer: Sarah Bradshaw.
• Crew: Director: Paul Feig. Screenplay: Emma Thompson, Bryony Kimmings. Camera (color, widescreen): John Schwartzman. Editor: Brent White. Music: Theodore Shapiro.
• With: Emilia Clarke, Henry Golding, Michelle Yeoh, Emma Thompson, Rebecca Root, Lydia Leonard, Patti LuPone, Madison Ingoldsby, Ingrid Oliver, Rob Delaney, Peter Serafinowicz.

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‘Last Christmas’ Review: Ho, Ho, Humbug

Emilia Clarke and Henry Golding star in a flatline of a romantic comedy.

• Share full article

By Manohla Dargis

“Boy Meets Girl, So What?” That’s the title of a movie that Bertolt Brecht thought up when he was exiled in Hollywood in the 1940s. It’s also an evergreen question, one that I crankily mutter whenever I watch another romantic comedy that tries to reanimate a sub genre that’s fallen on hard times, largely because the old orthodoxies about human beings and love — and what constitutes happily ever after — no longer apply. It was apparently so much easier for filmmakers when female happiness meant men, marriage and babymaking.

That helps explain “Last Christmas,” a romantic comedy directed by Paul Feig that presents itself as a classic love story — boy meets girl — while busily rearranging its crucial bits. It does this with a big twist embedded in a lot of cutesy chatter, truckloads of plot, many feelings and even more life lessons. The twist is clever enough, though much depends on whether you see it coming. Whether you do or not (I didn’t), it is a steep price to pay for a movie that advocates tolerance, community and other virtues yet views its audience members as barbarians in need of regular schooling.

That’s a drag because there’s some talent here, beginning with Emma Thompson, who has a showboating supporting role and shares script credit with Bryony Kimmings . Thompson is probably responsible for some of the snappier lines (that’s a reassuring fantasy, at least) and perhaps the sermonizing, too. But it’s hard to know who to blame for the forced and discordant scenes, or the mood-killing casting of Emilia Clarke and Henry Golding as the romantic leads. The actors look good together — never more so than on the movie’s poster — but her character’s strenuous perkiness and his character’s damp sincerity cancel each other out.

Clarke plays Kate, a singer and aspiring musical performer living and scarcely struggling in London. She has a silly job in a Christmas shop where, dressed as an elf, she spars with the owner, a woman who calls herself Santa and is played by an agreeably astringent Michelle Yeoh. Clarke sparks off Yeoh (and Thompson) but they, alas, are not the romantic pair. Eventually Kate meets her designated one, Tom (Golding), a bland smiler who swoops in on a bicycle instead of a white horse and, despite a regular disappearing act, more or less serves a familiar princely function.

Feig is an adroit director of comedy and he gives “Last Christmas” some fizz now and again. But he’s stymied by the romance and the gimmick, and the pairing of Clarke and Golding proves an impossible hurdle, making even the seemingly simplest moments — an intimate walk, a heartfelt talk — feel badly labored. After a while, particularly when Tom floats off, you start to wonder why the filmmakers even bothered with a romance, when all the best stuff, including at a homeless shelter, happens without Tom. Surely Kate, who seems to have so little going for her, except of course that she’s lovely, loved, talented and alive, could have learned all her lessons without such a dreary prop.

Last Christmas

Rated PG-13 for something, though it’s unclear what. Running time: 1 hour 42 minutes.

Manohla Dargis has been the co-chief film critic since 2004. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University, and her work has been anthologized in several books. More about Manohla Dargis

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Last Christmas

Kate is a young woman subscribed to bad decisions. Working as an elf in a year-round Christmas store is not good for the wannabe singer. However, she meets Tom there. Her life takes a new tu... Read all Kate is a young woman subscribed to bad decisions. Working as an elf in a year-round Christmas store is not good for the wannabe singer. However, she meets Tom there. Her life takes a new turn--that seems too good to be true. Kate is a young woman subscribed to bad decisions. Working as an elf in a year-round Christmas store is not good for the wannabe singer. However, she meets Tom there. Her life takes a new turn--that seems too good to be true.

• George Michael
• Emma Thompson
• Madison Ingoldsby
• Boris Isakovic
• 977 User reviews
• 181 Critic reviews
• 50 Metascore
• 1 win & 2 nominations

• Young Marta

• Shower Sarah
• Klaus the German Clown

• Fit Looking Guy

• The Dane aka 'Boy'

• Theater Director

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• Production, box office & more at IMDbPro

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• Trivia Filmed on-location in London. In order to avoid crowds interrupting filming, many scenes started filming around 2 a.m.
• Goofs In 1999, young Kate is shown singing in Yugoslavia, which civil war had been reduced by that time to consist of Serbia and Montenegro. Kate says her family was from Croatia and had to escape from the civil war in Yugoslavia. However, fighting in Croatian territory and in adjacent Bosnia-Herzegovina ended in 1995. The only war fought in 1999 was at Kosovo, a territory within Serbia.

Tom : There's no such thing as normal. It's a stupid word. Does a lot of damage.

• Crazy credits After the traditional credits, the vintage Universal Studios logo with "The Entertainment Center of the World" and image, "When in Hollywood, visit Universal Studios" with a tourist trolley on a movie set. Also seen at the end of Galactica 1980 (1980) , The Last Starfighter (1984) , and National Lampoon's Animal House (1978) . The latter added "When in Hollywood ask for Babs", a character in the movie.
• Connections Featured in The Graham Norton Show: Regina King/Emilia Clarke/Ross Noble/Jason Momoa/Camila Cabello (2019)
• Soundtracks Heal the Pain Written & Performed by George Michael Courtesy of Sony Music Entertainment UK Limited

User reviews 977

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• November 8, 2019 (United States)
• United Kingdom
• United States
• Official Facebook
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• Serbo-Croatian
• Giáng Sinh Năm Ấy
• The Phoenix Garden, 21 Stacey Street, London, Greater London, England, UK (The Urban Garden with the benches)
• CAMA Asset Storage & Recycling
• Calamity Films
• Feigco Entertainment
• See more company credits at IMDbPro
• $25,000,000 (estimated)
• $35,150,750
• $11,441,055
• Nov 10, 2019
• $123,446,172

Technical specs

• Runtime 1 hour 43 minutes
• Dolby Digital

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‘last christmas’: film review.

THR review: Emilia Clarke plays a woman getting unsolicited life lessons from a handsome stranger (Henry Golding) in Paul Feig's holiday-themed romance 'Last Christmas.'

By John DeFore

John DeFore

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It’s at the point when two mutually infatuated strangers break into an empty skating rink, gliding gracefully around while the rink’s sound system magically plays something appropriate, that a movie lover of a certain age and background might realize that Paul Feig ‘s Last Christmas isn’t a strangely off-target Yuletide romance: It’s a gender-flipped remake of 1980’s Olivia Newton-John vehicle Xanadu .

Emilia Clarke plays the troubled artist who has lost touch with her own gifts; Henry Golding is the mysterious, inspirational dreamboat who, instead of giving our heroine his phone number, simply shows up whenever he’s most needed; and the late George Michael, unable to compose a suite of new pop songs as Electric Light Orchestra did, has provided an entire back catalog for the filmmakers to choose from.

Release date: Nov 08, 2019

The similarities may or may not end there. Last Christmas is not as radiantly, lovably bad as Xanadu , though there may be some impressionable young viewers (especially those with serious crushes on Clarke and/or Golding) who will remember it fondly four decades from now. It’s a misfire by just about any measure, but it earns some warm feelings for its determination not to be like anything else currently in circulation. Sure, it concludes with the obligatory British rom-com singalong; but that’s the most ordinary thing in this peculiar, heartfelt romance about learning to move past trauma and finding meaning in helping others.

Opening credits inform us that Last Christmas , written by Emma Thompson and Bryony Kimmings, is inspired by the Michael holiday classic of the same name. Linger on that tidbit at your peril: Midway through the film, as you’re still wondering what doomed romance Clarke’s Kate is supposed to be getting over here (there isn’t one), you may suddenly understand the bad-pun liberties the script has taken with Michael’s lovesick lyrics; and if you do, you’ll likely guess things the pic doesn’t yet want you to know. Consider taking things at face value — or looking for more Xanadu parallels — instead.

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Kate is a between-apartments Londoner who has burned nearly every bridge in her life — careless with others’ trust, she’s couch surfing with the few remaining friends who’ll put her up while going on auditions for singing gigs she’s not prepared to get. She works in a year-round Christmas store, wearing an elf costume and hawking tacky ornaments for the boss (Michelle Yeoh) she knows only as “Santa.”

To her horror, she may soon have to move back in with her family, finally answering the countless messages left by her suffocating mother Petra (Thompson). Petra is an immigrant who fled Yugoslav wars around 1999, and is still haunted by those memories. Her effect on her daughter is summed up by the ringtone the latter has assigned to her phone calls: Fine Young Cannibals’ 1989 hit “She Drives Me Crazy.”

One day at work, Kate notices a handsome man standing in front of the shop. She goes out to meet Golding’s Tom, who’s staring up at a rare bird on a ledge. Quickly put off by his ostentatious sense of wonder, she shoots him down when he asks her to go for a walk: “I’m busy, you’re weird, bye.”

But Tom keeps showing up, swinging by on his bike until she goes wandering with him. Behavior Feig and Golding seemingly intend to be charming may come off to some viewers as weirdly condescending: Tom keeps insisting that Kate “look up” to see the things she walks by every day — a mildly amusing bit of street art, say, or the narrowest alley in London. (Clearly, the city’s tourist bureau had no input into the script.) He chides her about the lousy food she eats, tells her she should ditch her distracting phone as he has, and twirls around when she might rather have him stare meaningfully into her eyes. He doesn’t tell her to smile more, but he might as well.

Now and then, he ghosts her, forcing her to hunt for him at the homeless shelter where he volunteers. (Well, of course he feeds the hungry when he’s not making people feel guilty about under-appreciating their hometown.)

Kate does wind up, after some especially careless drunken misbehavior, having to move back home. Mom isn’t nearly as bad as everyone makes her out to be, but she is something of a one-note downer, fond of breaking into dirge-like folk songs from the old country and worrying that Brexit signals a return to hard times. (The script takes a couple of opportunities to show sympathy for the targets of anti-immigrant anger.) The high-energy domestic angst will amuse some viewers, but it’s a distraction from the more credibly screwed-up aspects of Clarke’s performance: Kate’s a wreck for her own reasons, and even when the character is feigning obliviousness about the havoc she wreaks, the actress takes her lost-ness seriously.

Kate is puzzled by Tom’s take-it-slow approach to their budding romance, and is perhaps sublimating some desires when she starts volunteering at the shelter when he’s not around — busking in her elf costume to raise money for the charity’s Christmas pageant. At least she has Michael’s songs to comfort her. Though it pegs her as a fan in opening scenes, the movie does little to explain the ubiquity of his music here; given how well the songs suit most (if not all) of the places they’re used, perhaps there’s no need to explain. The Hugh Grant/Drew Barrymore film Music and Lyrics is more interesting for viewers fascinated with the phenomenon of Michael’s pop stardom (even if it creates a fictional stand-in for the singer), but Last Christmas does justice to many of the songs themselves, and not in an overbearing, Mamma Mia! kind of way.

Little can be said about the final act without stealing the film’s thunder. But a viewer who hasn’t been put off by one thing or another in the pic’s first hour may well go along with its last left turn. Those who do will be rewarded with Clarke’s vaguely Amy Winehouse-ish rendition of the title track — horn section, elf costume and all.

Production companies: Calamity Films, Feigco Entertainment Distributor: Universal Cast: Emilia Clarke, Henry Golding, Michelle Yeoh, Emma Thompson Director: Paul Feig Screenwriters: Emma Thompson, Bryony Kimmings Producers: Erik Baiers, Jessie Henderson, David Livingstone, Emma Thompson Executive producers: Sarah Bradshaw Director of photography: John Schwartzman Production designer: Gary Freeman Costume designer: Renee Ehrlich Kalfus Editor: Brent White Composer: Theodore Shapiro Casting directors: Alice Searby, Fiona Weir

Rated PG-13, 102 minutes

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Movie Review – Last Christmas (2019)

November 15, 2019 by Robert Kojder

Last Christmas . 2019

Directed by Paul Feig Starring Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh, Patti LuPone, Rob Delaney, Lydia Leonard, Boris Isakovic, Sara Powell, Ingrid Oliver, Ritu Arya, Ansu Kabia, Fabien Frankel, Rebecca Root, Margaret Clunie, Maxim Baldry, and Peter Serafinowicz

Kate is a young woman subscribed to bad decisions. Her last date with disaster? That of having accepted to work as Santa’s elf for a department store. However, she meets Tom there. Her life takes a new turn. For Kate, it seems too good to be true.

Just in case it’s not obvious, Last Christmas plays the titular Wham! song three times within the first 15 minutes, whether it be over the opening credits or from holiday-themed trinkets playing variations of the classic tune. That begs the question, what do the lyrics of George Michael and soothing Wham! needle-drops actually have to do with Last Christmas ? Well, nothing really; it’s as if Emma Thompson wrote a script (alongside a few other collaborators) that director Paul Feig (who actually has a terrific filmmaking track record, for the most part) signed on to helm, only to shove these songs in there without any worthwhile purpose. And if they were already there in the script, the whole dynamic is rendered more confounding.

One of the first things we learn about central character Kate (Emilia Clarke, who seems to really enjoy starring in romance flicks when not building an army as the Mother of Dragons on HBO’s now concluded mega-popular series Game of Thrones ) is that she’s a talented singer originally from Yugoslavia that has a slight obsession with George Michael. There’s even a sticker plastered over her luggage professing “I <3 George Michael”. Not long into Last Christmas , Kate participates in a singing audition, only to perform a familiar holiday song. Little by little, the connections to George Michael dissipate until you’re left wondering what the hell the point was for the screenplay to immediately establish her as a Wham! superfan. Sure, there are still plenty of their songs comprising the licensed soundtrack, loosely connecting the lyrics to the narrative, but it’s kind of just there rather than creating energy and engagement compared to something like, say, Mamma Mia ‘s utilization of the Abba portfolio.

Nevertheless, aside from struggling to gain traction as a musician, Kate is in a rut. She willingly has one night stands with random guys from bars, which is fine until it becomes overtly clear that it’s not a productive thing for her happiness (the first guy we see her sleep with is actually cheating on his significant other). She has lost all enthusiasm for her job as an assistant for a small London-local Christmas-themed (and apparently George Michael themed) gift shop owned by Michelle Yeoh’s Santa. Making matters worse, she doesn’t get along with and actively avoids her dysfunctional Yugoslavian family still living in London (there are also some Brexit references that feel as forced as the idea of Emilia Clarke having Yugoslavian parents) while also behaving selfishly and recklessly around her closest friends that have naturally also had enough of her tomfoolery.

The story rationalizes these self-destructive tendencies as Kate still overcoming a life-threatening heart condition scare last Christmas, not knowing how to return her life to a sense of normalcy. Fortunately for her, she starts to have random encounters with Henry Golding’s Tom, a cheery fellow (his dancing while strolling through the street is about as lively as some of this movie gets) that is chivalrous and compassionate to great lengths. Tom is so perfect that it’s almost nauseating to Kate when she learns he’s also a volunteer for a nearby homeless shelter, but nonetheless does take a liking to him after shutting down his initial advances as not being her type.

What may surprise some viewers is that Paul Feig is holding back on the comedy (the Bridesmaids and Spy director only sporadically employs slapstick humor) while embracing the romance aspect. The kicker is that Last Christmas winds up not necessarily being a romance movie either, but more of a plea for kindness and a reminder of true Christmas values, regardless of nationality, race, or sexual orientation. Tom is simply trying to help Kate become a better person, encouraging her to right some of her wrongs. Wisely, Paul Feig and Emma Thompson incorporate a slice of commentary on the downside of dependency, never allowing the narrative to fully transform into the arc of a woman having the cracks in her life reformed at the wisdom of another man.

There’s much to be admired in what Paul Feig and Emma Thompson are trying to accomplish, but Last Christmas comes across wholly disjointed; it wants to be a celebration of George Michael, a tear-jerking romance, a broad comedy, a political statement, inspiration to never give up on pursuing one’s dream career ambitions, a family drama, and more all under the umbrella of Christmas. Most crucially, there is a painfully obvious revelation that takes seemingly forever to bubble to the surface, causing the middle act to severely drag. Not that you need a clue, but there’s only one answer when it becomes clear that Tom never using his phone is not explored as an intriguing social commentary on society’s overreliance on technology, especially when it comes to dating applications for finding love.

As a side note, there will be those that find Tom’s persistence to go for a walk as slightly creepy and disrespectful, but he’s never rude or demanding or inconsiderate about it. Dating has changed very much in the past 10 years or so, so it is a missed opportunity that Last Christmas doesn’t dive into any of these dialogues that are brought up and abandoned within minutes. It’s too focused on cliché romance and awkwardly implemented dramatic touches regarding the current political climate. The end result doesn’t amount to anything beyond a basic call to action for kindness. Last Christmas will be forgotten before this Christmas.

Flickering Myth Rating  – Film: ★ ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check  here  for new reviews, friend me on Facebook, follow my  Twitter  or  Letterboxd , check out my personal non-Flickering Myth affiliated  Patreon , or email me at [email protected]

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Stream It Or Skip It: ‘Last Christmas’ on HBO, in Which Emilia Clarke Works Hard to Save a Cheesy Holiday Mess

Where to stream:.

• Last Christmas

This week’s Saturday-night HBO debut is Last Christmas , a slice of holiday cheer in the midst of a July swelter. On paper, the project explodes with talent: Game of Thrones dragon wrangler Emilia Clarke and Crazy Rich Asians standout Henry Golding star. Paul Feig, of A Simple Favor and Bridesmaids fame, directs. A supporting cast including international treasures Michelle Yeoh and Emma Thompson, the latter also producing and co-writing. And it’s all tied together by the music of George Michael and/or Wham!, from whence the title and concept come. Here’s hoping it adds up to more than the sum of its parts.

LAST CHRISTMAS : STREAM IT OR SKIP IT?

The Gist: Hot mess, comin’ through: Kate (Clarke), born Katarina, a Londoner from the former Yugoslavia, used to be queen of the choir. Her voice could enchant George Michael himself, from Earth to the spiritual afterlife hinterlands. But now, she’s 26 and aimless, all over the place, crashing on friends’ couches, angry at her mother, not speaking with her sister, drinking too much, sleeping with whoever bought the drinks, late for auditions, all that. She clings to the dream of a singing career, but works a retail job where she wears an elf costume with dingleballs and a little hat, manning the counter at a year-round Christmas store. Oh, the pain of working retail, those people must suffer so, especially if they can sing and movies keep telling them that it’s a stultifying dead-end gig instead of a perfectly respectable job. Woe!

Nothing has been the same since Kate’s operation, whatever that was a few years ago, no spoilers here. Her life was saved but now it seems lost, if that makes sense. One day while she’s dusting the bums of ceramic cherubim, a manic pixie dream guy walks into the store. Tom (Golding) is a charmer who preaches the philosophy of looking up instead of looking down, because you’ll miss the important shit about life, like a very profound golden fish hanging on a sign above a shop. She’s enamored with him, because they had THREE meet-cutes in one day, which can’t be a coincidence. Yet she can’t pin down this mystery gent who takes her down charming London alleyways and through little hidden London gardens, then just kind of drifts off.

Tom’s quirky-cheery perspective starts rubbing off a little. Kate pairs her boss, who calls herself Santa but is actually Huang Qing Shin (Yeoh), with the handsome sauerkraut enthusiast patronizing the shop not for the ugliest Nativity figurines this side of the Eastern Bloc, but to stand in slack-jawed awe of this elegant woman. Kate reconnects with her highly critical, piece-of-work mother Petra (Thompson), a critically damaged survivor of the Yugoslav Wars. Kate begins volunteering at a local homeless shelter. Will she and Tom kiss each other or what? He has to have a secret, another shoe about to drop, doesn’t he? Meanwhile, here’s a George Michael song. Listen to it!

What Movies Will It Remind You Of?: This is a Love, Actually -meets- The Preacher’s Wife sort of schlocky Christmas saga.

Performance Worth Watching: Somewhere in this mess of a screenplay, Clarke finds Kate’s core charms — the character is apologetic for her mistakes, but not for who she is. Clarke and Yeoh — the high point of pretty much every film she’s in — also make a convincing subtextual argument that a funny workplace comedy might evolve from this premise.

Memorable Dialogue: Petra sums up her chronic depression succinctly: “I blame it on the Poles.”

Sex and Skin: Kate wakes up in after a one-night-stand and says, “This bed is like sleeping on a pile of kittens.” Does that count?

Our Take: Beware this movie’s inevitable Christmas twist, which bears symbolism that’s as subtle as a 20-story neon-pink baby Jesus in your neighbor’s yard; you’ll see it from a mile away. The idea that Last Christmas is “inspired by” George Michael’s songs is an excuse for said title, and is little more than a superficial gimmick. The script is a dishevelment, romantically wan and comedically desperate — hearing Thompson TALK IN EASTERN BLAWK ACCENT and watching Clarke get bird dook in her eye is just cringingly awful. One can sense Clarke actively battling to keep Kate from being a mile-wide/inch deep character careening from one embarrassing incident to the next.

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And yet. Clarke and Golding share a pivotal scene in which she opens up her heart and becomes human, instead of a grab-bag of movie character devices engineered to make us laugh at her pathetic state — which, mind you, thanks to her stubborn refusal to play Kate as a walking joke of a person, isn’t pathetic at all. Maybe, beneath the rampant silliness, a million-zillion strings of Christmas lights, overly romanticized displays of London cobblestone, the Christmas-magic cheese-dip plot twist and frustrating dalliances with serious character-driven subject matter (Petra and Kate’s parallel struggles with depression), the movie might have something to say about how people work and what they do to get by and how they seek to improve themselves.

The movie’s many miscellaneous devices and elements and developments never cohere, and it squanders multiple opportunities for Michael’s music to beef up an emotional scene — except maybe one near the end, when Kate’s series of attempts to put some positive energy into the world come to fruition, and this junkyard of a movie almost becomes functional, and I started asking how I allowed myself to be seduced by its shameless, holistic sentimentalism. This is a bad movie, shotgunned with problems, and I laughed two, maybe three times, but I gave a crap about Kate, and wanted the best for her, and it’s all Clarke’s fault for being a buoyant and cheery and ultimately substantive presence, for being a lone tender marshmallow floating in a damn thin cup of cocoa.

Our Call: STREAM IT. Last Christmas fortified my cynicism for more than an hour, then Clarke eroded it just enough to make me like it. Life is strange sometimes.

Should you stream or skip the holiday movie #LastChristmas on @HBO ? #SIOSI — Decider (@decider) July 12, 2020

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com or follow him on Twitter: @johnserba .

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‘Last Christmas’ Review: When Holiday Movies Go Very, Very Wrong

• By David Fear

Kate ( Emilia Clarke ) is in a rut. Long ago, as a girl growing up in Yugoslavia circa 1999, she was a songbird who could turn George Michael’s “Heal the Pain” into a transcendental choral experience. Decades later, she’s a young woman who drinks away her pain in London’s pubs and manages to alienate her most loyal friends. Don’t get her started about her family: Dad ( Boris Isakovic) was a former lawyer who now drives a cab; Mom (co-writer Emma Thompson ) browbeats everyone; her sister (Lydia Leonard) isn’t speaking to her. Occasionally, she auditions for roles in musical theater productions like an ice-skating version of Frozen. Mostly, Kate half-heartedly works at a year-round Christmas decorations store. She is a lovable, quirky fuck-up, U.K. Toxic-Twee division.

But soft, what light through yonder retail shop’s window breaks? His name is Tom ( Crazy Rich Asians’ Henry Golding). He’s so very handsome but also so very annoying, Kate thinks, what with his constant bike-riding and unimpeachable optimism and endless requests that she “look up.” Because that’s how you see the wonders of the everyday world that are above you and all around you, if only you took the time to notice them! Kate mocks his sunny disposition. Tom forces her to be nicer to people, and to herself. Except the manic J. Crew dream hunk has a habit of taking off at inopportune moments — the guy “works nights,” you see — or disappearing altogether, and then mysteriously reappearing when our heroine is at her lowest. But in the meantime, she starts volunteering at the local homeless shelter, and acts as a matchmaker for her boss (Michelle Yeoh) and a distinguished Dutch customer (Peter Mygind) who the older woman likes and calls “Boy,” which … just … never mind.

Even if you haven’t paid attention to the slight internet chatter around Last Christmas, you can sense some sort of big reveal is looming on the horizon. In fact, you can probably identify exactly what said climactic curveball is if you’re paying a smidgen of attention, especially when talk of some vague past illness Kate has suffered begins to surface. When your worst fears are confirmed — and then doubled down on — it doesn’t cause your heart to go pitter-patter so much as make your blood boil with rage. The are-you-serious turn that the film treats as deep is admittedly on-brand, however. This is the kind of movie that also mistakes obvious and cloying for clever, ham-fisted for subtle, and merely stringing together George Michael tunes as some sort of homage.

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Right, the Michael factor: The title takes its name from Wham’s melancholy 1986 ditty, which took on a new level of poignancy when the singer passed away on December 25th, 2016. (Remember this date.) After Thompson was approached with an offer to pen a script based on the song, the British screen icon, her collaborator/husband Greg Wise and her cowriter Bryony Kimmings instead conceived a Christmas movie that borrowed heavily from his music. And while the end result never goes full Mamma Mia with the idea, it does mean that, for example, a scene of Kate waking up will be accompanied by a video of Wham’s “Wake Me Up Before You Go Go.” When she sings a lullaby to heal her pain, it turns into “Heal the Pain” on the soundtrack. A montage of the couple experiencing a rush of blissful freedom is set to the strains of “Freedom ’90.” The fact that Kate’s increasingly smitten glances at this enigmatic beau do not cue up “I Want Your Sex” feels like a missed opportunity, but if you’re like us, you will feel a nostalgic pang upon hearing Michael’s songs again. Cherish that feeling of good will. It is in very short supply here.

Which brings us to the genuine spoiler here: Last Christmas is bad. Incredibly, shockingly, monumentally bad. The kind of bad that falls somewhere between finding a lump of coal in your stocking and discovering one painfully lodged in your rectum. The kind of bad that you get when you bring together people of enormous talent and then are forced to watch them flail around, lost and flop-sweat desperate, attempting to make a romantic comedy that is mind-bogglingly short of both elements. The kind of bad where you might literally hear the tolerance messaging — same-sex unions, homelessness, anti-immigrant prejudice, Brexit — being ticked off a checklist were it not drowned out by the sound of everyone patting themselves on the back. The kind of bad that you get when you aim for that Richard Curtis sweet-spot à la Love Actually and actually land, face-first, into a pile of garbage just like your lead character. Yes, Clarke’s Kate is a mess. She can’t begin to compete with the movie she is in. You pray for a trio of dragons to swoop from the sky and burn the whole thing to the ground, incinerating prints of the film as an added bonus. (We’re kidding, of course. Films are no longer shown in multiplexes via prints.)

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How this managed to devolve into such a tainted-tinsel disaster is, frankly, a more intriguing mystery than the one at the center of the story. Clarke has all the makings of a screwball comedian. Golding has screen presence and charisma to burn. On paper, the notion of Thompson telling dick jokes in a thick Eastern European accent sounds hilarious; we’re also talking about the woman who wrote the screenplay for Sense and Sensibility, the gold standard for how to do modern lit-classic adaptations correctly. Paul Feig directed Bridesmaids, Spy and numerous key episodes of NBC’s The Office. Even if you don’t dig the tune that gives the movie its name, George Michael’s back catalogue is emotionally resonant and eminently ripe for the full-soundtrack treatment. Who couldn’t use a story doused in the milk of human kindness?

Individually, the ingredients seem foolproof. Add it all together, paced like a slowly leaking faucet and cut together in a way that makes you wonder whether the editors were being chased by the police, and what you get is a flavorless mishmash. It makes sense that Last Christmas isn’t coming out at the end of December but right on the cusp of Thanksgiving. It’s a bona fide holiday-movie turkey.

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Screen Rant

Last christmas twist ending (& meaning) explained.

Last Christmas features a twist ending that changes what happened to Kate and Tom in the movie - and what meaning viewers should take from it.

Last Christmas is more than a holiday rom-com - and features a shocking twist ending that completely changes how viewers will perceive Kate and Tom's relationship. We explain what is actually happening in the film's final act as well as how the reveal ultimately contextualizes the real  lesson Last Christmas is attempting to teach viewers.

Based on the early  Last Christmas  trailers , most moviegoers were likely expecting an otherwise charming holiday film that follows the standard Christmas rom-com formula: a humbug is challenged to embrace the holiday spirit by someone they initially can't stand but grow to like (and eventually love). It's a  genre that Hallmark and Netflix have wholeheartedly embraced - much to the delight of viewers who love holiday rom-coms in spite of, and often because of, their cheesy setups. Nevertheless, Last Christmas (which was directed by Paul Feig and co-written by Emma Thompson as well as playwright Bryony Kimmings) attempts to subvert standard holiday movie tropes with a story and third act reveal that reframes Kate and Tom's romance as a tale of self-love and acceptance.

Related: Last Christmas Cast & Character Guide

Last Christmas tells the story of Kate (Emelia Clarke) a twenty-something aspiring singer who spends the time between auditions drunk, sleeping around, and screwing up at work. Her friends, family, and boss are all fed-up with her selfish (and self-destructive) behavior - especially considering that Kate used to be a thoughtful, joyful, and loving human being. As Christmas draws near and Kate faces an increasing number of frustrating situations at work and home, she encounters manic pixie dream boy Tom (Henry Golding) who teaches her to "Look up" and reminds her of the joy that comes with giving to others. Thanks to Tom's infectious thirst for life, Kate is inspired to rediscover the ambitious, "special," and joyful person she used to be - before, as she reveals to Tom, she nearly died "last Christmas."

Note: The rest of this post contains major SPOILERS for  Last Christmas . You have been warned.

Last Christmas  Ending Explained

As Kate explains it to Tom, one year back, she was rushed to the hospital. Her heart was failing and she underwent an emergency heart transplant. According to her, it was grief that caused her to withdraw throughout the following year - grief for the experience she went through and for the failing heart that was violently cut out of her, thrown in the trash, and subsequently replaced by a donor organ. Tom comforts Kate, and invites her to stay the night in his apartment - but their relationship is forever altered by her confession. The next time they see each other, Tom is distant, emphasizing that Kate cannot depend on him - a stark contrast to his role in their budding romance thus far. However, it isn't until Kate attempts to confront Tom at his apartment that she understands why he started pushing her away. Tom was killed last Christmas while working his night-time bike courier job - and it was his heart the doctors used to save Kate's life. It is at this point that Kate reflects on all of her interactions and "dates" with Tom - realizing that he was never visible to anyone but her.

In one final meeting, Tom confirms to Kate that he is dead - and attempts to explain why she can see him. Tom stops short of providing a concrete explanation but states that he is part of her - suggesting that, by extension, she is accessing whatever part of him was left behind.

Was Tom a Ghost or Imagined in Last Christmas ?

The film stops short of explicitly stating at what point Tom became aware of his own state of being or what viewers are to make of him - specifically what he is and whether or not he is fully Tom or simply phantom characteristics of Tom that are closely-associated with his heart (joy, optimism, charm, and love) that Kate is most in need of embracing.

Either way, Tom wishes Kate well - and instructs her to take care of his heart, suggesting it would have been hers, regardless. This line, more than anything else in the film, is the best evidence that Tom is actually a real ghost-like figure throughout his encounters with Kate - given that his parting words appear to confirm that he isn't just a disembodied guide meant to help her move past the trauma of a near-death experience, he has feelings for her as well. The line is open to interpretation but the most meaningful reading of Tom's statement is one that certifies the pair's love as real and reciprocated - that she " would've had his heart no matter what. " The line suggests Tom would have fallen for Kate in life but, since they didn't, he's happy his heart has a part to play in all the good she will do in the world.

What the Last Christmas Twist Actually Means

At its core, Last Christmas is a film about confronting fear, accepting and moving past trauma and tragedy. This is most apparent in Kate's journey from choir girl to deadbeat drunkard to selfless servant throughout the film. However, she isn't the only character that overcomes past trauma and embraces life in the moment. In particular, Kate's mother, Adelia (Emma Thompson), is terrified that their family (of Yugoslavian refugees), will be run out of London and returned to their home country - or worse, harmed by British xenophobes emboldened by populist sentiment.

Related: Exclusive Interview with Paul Feig: Last Christmas

The parallels between Kate and Adelia aren't apparent at first, especially given that Kate actively avoids Adelia and bemoans her mother's compulsions; yet, both characters exhibit the same fear: they do not feel safe enough to receive love - and have, one way or another, steeled themselves against their vulnerabilities. The same is true for Kate's sister, Marta (Lydia Leonard) who is afraid to fully embrace her own relationship out of fear her family will disapprove.

The sentiment that betrayal (trauma, a health crisis, xenophobia) can haunt us forever is even foreshadowed in the Wham! song from which the film gets its title (the song also  hinted at the film's big twist). In the song, the narrator reflects on a past heartbreak, intending to move on and give their heart to "someone special" this year - only to conclude they should wait until next year, instead.

"Last Christmas, I gave you my heart.  But the very next day you gave it away.  This year, to save me from tears.  I'll give it to someone special. A face on a lover with a fire in his heart. A man under cover but you tore him apart. Maybe next year I'll give it to someone. I'll give it to someone special."

Last Christmas isn't a story about romance , it's a rumination on self-love and the power of healing. The best relationships simultaneously support and challenge us - especially in times of great difficulty. For that reason, it's no surprise that Kate begins seeing Tom as the anniversary of her near-death experience approaches - especially given that Kate has alienated every other potential supporter in her orbit. With Tom's help, Kate not only learns to love herself, she also learns to love the piece of her, Tom's heart, that epitomized her trauma and previously felt so foreign to her.

To that end, the meaning of  Last Christmas  isn't a debate about what Tom is now; instead, the ending attempts to recontextualize the cliches of holiday rom-coms with an empowering point. It was love, self-love (not romance) both literally and metaphorically that allowed Kate to heal and rediscover her joy and talents - and subsequently use them to unite her family, reconcile with her friends, and serve the needy.

Next: Last Christmas Movie Review

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Last Christmas review: Emilia Clarke romantic comedy plays like an expensive Hallmark film

The film’s crowbarred subplot about post-brexit xenophobia initially feels like a queasy attempt to stay relevant, article bookmarked.

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Dir: Paul Feig. Starring: Emilia Clarke, Henry Golding, Michelle Yeoh, Emma Thompson, Rebecca Root, Lydia Leonard. 12A cert, 103 mins

Christmas is inherently trashy. There’s the garish, spiky strands of tinsel and the itchy novelty jumpers; the sloppy, drunken corporate get-togethers and the feigned niceties shared between people who absolutely despise each other. So shouldn’t a good Christmas film be a little trashy, too? That seems to be the logic behind Last Christmas , a star-studded romcom that plays like an expensive Hallmark film. It’s also meant to be, as the title suggests, inspired by the songs of George Michael. They appear on the soundtrack, but the musician’s presence is barely felt.

You’ll be able to guess the entirety of the film’s plot from the moment Tom ( Henry Golding ) bounds on to the scene like a labrador puppy. He’s developed a habit of crossing paths with Kate ( Emilia Clarke ) at random, only to conveniently slip away the moment she has a chance to ask him what his deal is.

Who is this man? Why is he so carefree? How does he have the time to volunteer at a homeless shelter? Why does he keep dancing around like a little Victorian chimney sweep? All of these questions frustrate Kate as much they intrigue her, as if his perfection were mocking her. She can barely keep her life on track: her dreams of becoming a West End star have gone down the drain, she’s couch surfing because she’s too stubborn to move back home, and has lost all enthusiasm for her job at the Christmas shop in Covent Garden. Her family all rallied around her when she was ill – very ill – last year, but now their patience is starting to wear thin.

The 20 best Christmas films - ranked

That’s until Tom starts her on the path to personal redemption and mental recuperation. A connects to B, everyone has a good time, and it all ends in a big singalong. Last Christmas is not a film for those seeking dramatic intrigue, but simply exists for anyone wanting to marinate in something deeply pleasant for an hour and a half. The script – based on a story by Emma Thompson and her husband Greg Wise, but written by Thompson and Bryony Kimmings – keeps the humour light and fluffy. What feels refreshing, however, is that everyone gets their chance to shine. The film’s director, Paul Feig, lets us see completely new sides to these performers (in much the same way Feig’s last film, A Simple Favor , featured a revelatory turn from Blake Lively).

Clarke has spent years frowning and bellowing about dragons; here we finally get to see the person we’re so used to off camera. She’s funny, self-effacing, and in possession of a set of eyebrows so expressive, they deserve their own tiny Academy Award. Golding, too, has already proven he’s skilled at listening intently and supportively to a woman’s problems. Here, he gets to do that – and also run around like a complete goofball (there’s a Bond impression in there that will almost certainly have the internet’s rumour mill working overtime for the next few weeks). Even Michelle Yeoh – as Kate’s cutting, but ultimately supportive boss – gets her share of one-liners.

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• Emma Thompson: ‘George Michael gave his blessing for Last Christmas’

The film’s crowbarred subplot about post-Brexit xenophobia does initially feel like a queasy attempt to stay relevant. Kate and her family came to the UK as refugees from former Yugoslavia. Her mother (Thompson) now cowers in her home, watching news reports of right-wing demonstrations. The idea never really goes anywhere.

But there’s a subplot within a subplot here that feels like it should have been worthy of greater investigation. Kate’s full name is Katarina, but she refuses to be called by it, spending much of the film constantly reasserting her own Britishness. You never really find out why, but by the end, she’s reclaimed her heritage and no longer seems to be hiding from that part of herself.

A better film might have had more to say on the matter, but Last Christmas ’s ambitions are much more humble. If it’s made you feel festive, it’s done its job.

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Last Christmas review – cliched festive failure

George Michael’s music is wasted in Paul Feig’s comedy of excruciating life lessons

T he music of George Michael and Wham! is hauled out on to the soundtrack of this mouldy tangerine of a movie with about the same level of care and sensitivity that you might find on the festive mixtape at a motorway service station. Say what you will about Yesterday , but at least it revered the music it co-opted. Here, we have a central character, Kate (Emilia Clarke), who has a George Michael sticker on her suitcase but a relationship with his music that is never explored.

The film, directed by Paul Feig and written by Emma Thompson, Greg Wise and Bryony Kimmings, is full of unsatisfying dead ends and seems more preoccupied with scoring worthy points than it is with tying together the story. Kate, formerly a talented singer, works as an elf in a year-round Christmas emporium and has lost her direction. Then a chance encounter with mysterious handsome stranger Tom (Henry Golding) jolts her out of her self-pity and self-destruction. But Tom is maddeningly elusive and, he gently explains, probably not great boyfriend material. Even so, Kate is sufficiently bolstered to pull on her elf boots and put on a talent show (surely the laziest of all Christmas film devices). It seems fitting at this point to use one of the hoariest of film criticism cliches and say that this was a film that lingered long after I left the cinema. In this case, it lingered in the form of a tension headache caused by 103 minutes of mortified wincing.

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The Last Horror Movie With A Perfect Rotten Tomatoes Score Came Out Four Years Ago

"Late Night With the Devil" might just be one of the buzziest horror flicks in recent memory. It's a 2024 movie, and it's blowing everyone away  so far, currently standing at an impressive 100% rating on Rotten Tomatoes , with 52 reviews being counted. It's always possible some other critic will come along to bring that score down, but it's outstanding all the same. For now, the film has made some impressive company and achieved a feat that hasn't been done since 2020. 

"Late Night With the Devil" is the first horror movie to garner a Rotten Tomatoes score of 100% since 2020's "His House," a Netflix original that maintained the rating with 125 reviews . It's a good reminder that the horror genre is still alive and well, with filmmakers finding unique ways to garner scares. Plus, this should be a good reminder to go watch "His House." The movie is about a Sudanese refugee couple who starts living in an English town and soon discovers an evilness around them.

Critics praised the film's inventiveness and topicality, with Tim Grierson of Screen International writing, "The film has much to say about grief, guilt, assimilation and the on-going refugee crisis. And on top of all that, it's also a nifty nerve-jangler." The true horror in "His House" concerns the frightening reality many refugees face, giving the film an extra bite that makes it worth watching years later.

Read more: Horror Movies Banned For Being Too Disturbing

What Makes Late Night With The Devil So Good?

"His House" is still very much worth watching, but anyone wanting to see the latest entry in the Rotten Tomatoes 100% club should check out "Late Night With the Devil," which is set to premiere in U.S. theaters on March 22 and on Shudder on April 19. The movie follows late-night talk show host Jack Delroy (David Dastmalchian), who interviews a young girl who survived a mass suicide event at a Satanic church. When she makes contact with the devil, things go horrifically awry. 

It's a horror film that needs to be seen to be believed, and critics can't get enough of it. Ross McIndoe of Slant Magazine praised the movie, writing, "By taking the tricks and tropes associated with films about occult goings-on and applies them in the context of a 1970s talk show, Australian writer-directors Cameron and Colin Cairnes have conjured up a horror flick that's devilishly fun." Dennis Harvey of Variety largely agrees, praising the unique setting for the new possession film. "The resulting mix of vintage Me Decade showbiz cheese and 'Exorcist'-y demonic doings is distinctive, not to mention deftly handled by the [Cairnes] as both writers and directors," he wrote.

It's always good for a movie to be compared favorably to "The Exorcist," and it's all anchored by a bravado performance by Dastmalchian. He's no stranger to horror with a turn in "The Boogeyman," which had plenty of skin-crawling moments . And it sounds like "Late Night With the Devil" really gives him a chance to establish himself as a true horror icon.

What Other Horror Movies Are In The Elusive 100% Club?

All it takes is one outlier critic to reduce a movie's Rotten Tomatoes rating from 100% to a pitiful 99%. No doubt, there have been many excellent horror movies over the decades with exceptional scores, but it's rare for films to hit 100% and stay there. Outside of "Late Night With the Devil" and "His House," 2017's "One Cut of the Dead"  also holds that distinction with 97 reviews from critics being added up. That's a Japanese horror-comedy about a film crew trying to make a zombie movie when actual zombies descend upon them. 

2017 also saw the release of another horror flick that received a perfect score with 28 reviews total — "Creep 2."  The sequel follows the serial killer from the first film who has a new videographer visit him. 2015's "Frankenstein," an adaptation of Mary Shelley's classic novel starring Carrie-Anne Moss, also hit 100% but with only 10 reviews. 

To be fair, it's not quite as impressive when a movie only has a small pool of reviews to pull from to gain a 100% Rotten Tomatoes score. It's more of something to brag about when there are dozens of reviews praising a film. As it stands, "Late Night With the Devil" is in some pretty elite company, making it a flick that should be on every horror aficionado's radar.

Read the original article on Looper .

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Most Anticipated Horror Movies of 2024

From the return of franchises old and new to festival darlings and all sorts of nightmare-inducing thrills, there's a lot for horror fans to look forward to this year..

TAGGED AS: Horror , movies

Horror is one of the most reliable genres in film, one that has, time and time again, provided box office success when the rest of the industry struggles. As Hollywood recovers from the pandemic and a double strike, there’s still plenty to be excited about as a moviegoer. From the return of franchises old and new to festival darlings and all sorts of nightmare-inducing thrills, here are the horror movies we’re most looking forward to in 2024.

Stopmotion (2023)

The art of stop-motion is inherently creepy, so a stop-motion horror film is already a recipe for nightmares. This British live-action/animated horror film gained a lot of buzz after its premiere at Fantastic Fest and follows a stop-motion animator who sees her life spiral out of control while working on her latest film after a neighbor suggests a new and horrific character.

Late Night with the Devil (2023)

Found footage never dies, but the audience at the taping of a ’70s late night talk show in Colin and Cameron Cairnes’ horror film probably will once they realize that the surprise guest may come from the very fires of hell. This film has gained acclaim at festivals since its debut last year, particularly for David Dastmalchian’s electrifying performance.

Immaculate (2024)

Sydney Sweeney makes her triumphant return to horror with a new nun horror movie that hides a devilish secret. Sweeney stars as a devoutly religious woman who joins an Italian convent that hides plenty of dark secrets. When she miraculously gets pregnant, blood starts to flow and bodies begin to drop.

The First Omen (2024)

The franchise about the son of the devil being born on earth and wreaking bloody havoc is back. Now, we’re going back in time to explore exactly how the antichrist Damien Thorn came to exist. The answer seems to involve a terrifying and vast conspiracy, and also Bill Nighy as a priest — just what you’d expect from the most evil child.

Abigail (2024)

The duo behind Ready Or Not is ready to tackle a Universal Classic monster, and they’ve got an all-star cast to do it. Giancarlo Esposito hires a group of kidnappers who capture a 12-year-old ballerina named Abigail, and oh, how quickly they start to die off when they discover she is a vampire child. That’s right! The film is a reimagining of the 1936 film Dracula’s Daughter , and this time she dances, too.

Infested (2023)

(Photo by Shudder)

Directed by: Sébastien Vaniček Starring: Théo Christine, Sofia Lesaffre, Jérôme Niel Premiering on: April 26, 2024 (Shudder)

Shudder is releasing this festival darling that terrified audiences at the Venice Film Festival, a feature directorial debut that follows the residents of a French suburban building facing a horrific spider infestation. What starts as a single venomous spider becomes pure nightmare fuel driven by fantastic practical effects and great use of creepy crawlers.

Cuckoo (2024)

Director Tilman Singer follows up his 2018 feature debut Luz with this thriller starring  Euphoria’ s Hunter Schafer as rebellious teen Gretchen, who moves with her father’s new family to live in a German mountain resort run by  mysterious caretaker who takes an unusual interest in Gretchen’s mute half sister. This is just the set-up for a blood-soaked mind-bender that ratchets things up to 11 and never looks back.

The Strangers: Chapter 1 (2024)

(Photo by Lionsgate)

Directed by: Renny Harlin Starring: Madelaine Petsch, Froy Gutierrez, Ema Horvath Opening on: May 17, 2024

Everyone’s favorite masked killer trio is back with a reboot trilogy. Chapter 1 is said to be something of a remake of the 2008 film about a trio of masked killers who terrorize a quiet house in the woods. This time, we follow a girl and her boyfriend forced to spend the night in an isolated rental home when their car breaks down and the horrors they experience when unexpected visitors arrive.

The Watchers (2024)

Ishana Night Shyamalan makes her feature directorial debut with a movie that sounds fittingly mysterious and creepy for the filmmaker who previously helmed episodes of the scary Servant (and, of course, is the daughter of M. Night Shyamalan). The movie, based on the novel of the same name, stars Dakota Fanning as a young artist trapped with three strangers deep in an Irish forest as they are stalked by mysterious creatures every night.

A Quiet Place: Day One (2024)

The first A Quiet Place took a very simple premise and turned it into a global hit. Now, we’re going to discover how the world first went quiet. Just as Aliens dramatically diverged from the tone of Alien , so does Day One tease a very different kind of movie than its predecessors, delivering a proper alien invasion film where no one knows what they’re facing or how to fight back. Add a stellar cast and you’ve got a horror blockbuster in the making.

Longlegs (2024)

The latest chiller from Oz Perkins ( The Blackcoat’s Daughter ,  Gretel & Hansel ) takes place in 1974, following a young FBI agent (Maika Monroe) tasked with trying to crack an unsolved serial killer case who begins to uncover evidence of occult practices and a personal link to the murders.

Trap (2024)

(Photo by Angela Weiss/Getty Images)

Directed by: M. Night Shyamalan Starring: Josh Hartnett, Saleka Shyamalan Opening on: August 2, 2024

M. Night Shyamalan is back with a brand new horror movie, this time not based on any established story — as far as we know. Though next to nothing is known about the upcoming thriller, we do know that Shyamalan’s sixteenth feature film is a psychological thriller set at a concert. That alone is enough to make this movie intriguing.

Speak No Evil (2024)

(Photo by ©Shudder)

Directed by: James Watkins Starring: James McAvoy, Mackenzie Davis, Scoot McNairy Opening on: August 9, 2024

James Watkins (Eden Lake, The Woman in Black ) helms this remake of the disturbing 2022 Danish psychological thriller (seen in the photo above) about a family on vacation who befriend another family and accept an invitation to visit them at their home, only to discover their hosts may not be as gracious as they seem.

Alien: Romulus (2024)

(Photo by ©20th Century Fox Film Corporation)

Directed by: Fede Alvarez Starring: Cailee Spaeny, Isabela Merced, David Jonsson, Archie Renaux Opening on: August 16, 2024

The iconic xenomorph returns. Director Fede Alvarez takes on another classic horror franchise with a brand new entry in the Alien franchise, which — although standalone — is set to take place between the original and the second film in the franchise. Romulus also brought back the team from Aliens to build the new xenomorphs, which should make fans of practical effects very happy.

Beetlejuice Beetlejuice (2024)

(Photo by Warner Bros.)

Directed by: Tim Burton Starring: Michael Keaton, Winona Ryder, Jenna Ortega, Willem Dafoe, Justin Theroux Opening on: September 6, 2024

It’s been over 35 years, but everyone’s favorite Bio-Exorcist is finally back. Tim Burton returns to his beloved ’80s classic with a movie that has the perfect title and a fantastic cast. Very little is known regarding the plot of the sequel, but we do know that it will serve as a big reunion, with Danny Elfman returning to compose the score and Winona Ryder, Michael Keaton, and Catherine O’Hara all set to return.

Saw XI (2024)

(Photo by Alexandro Bolanos Escamilla/©Lionsgate)

Directed by: Kevin Greutert Starring: TBA Opening on: September 27, 2024

In 2023, longtime Saw franchise stalwart Kevin Greutert breathed new life into the series with  Saw X , which surprised everyone when it earned glowing reviews en route to a Certified Fresh designation. We know pretty much nothing about the planned follow-up to that film,  Saw XI , except that it’s scheduled for release on September 27 and that Greutert is returning to direct it, but the positive reception to the last entry is enough to generate a lot of excitement for this one.

Smile 2 (2024)

(Photo by ©Paramount Pictures)

Directed by: Parker Finn Starring: Naomi Scott, Lukas Cage Opening on: October 18, 2024

The surprise horror hit of 2022 is back for more smiles. Parker Finn returns to write and direct a sequel to the first film, which followed a psychiatrist who becomes convinced she is haunted by an evil supernatural entity after the bizarre suicide of a patient. We don’t yet know what the sequel will be about, but expect plenty of creepy smiles.

Terrifier 3 (2024)

Art the Clown is back for another horrifying and bloody round of colorful kills. This film is set to bring back Victoria Heyes, the heroine-turned-possessed villainess of the franchise, while Art unleashes chaos on a town preparing for the holidays. That’s right, Terrifier 3 is a Christmas movie, but you better expect the same kind of fun and ultra-violence of its predecessors.

Wolf Man (2024)

(Photo by Universal Pictures courtesy Everett Collection)

Directed by: Leigh Whannell Starring: Christopher Abbott, Julia Garner Opening on: October 25, 2024

Leigh Whannell already proved he could successfully reinvent a Universal Classic Monster to modern times with 2020’s The Invisible Man , and he’s about to do it again. This time he brings aboard Christopher Abbott and Julia Garner to reinvent the 1941 classic werewolf tale The Wolf Man . The film will follow a man whose family is terrorized by a lethal predator — and he’d better find some silver before it’s too late.

Nosferatu (2024)

(Photo by Focus Features)

Directed by: Robert Eggers Starring: Bill Skarsgård, Nicholas Hoult, Lily-Rose Depp, Aaron Taylor-Johnson, Emma Corrin, Willem Dafoe Opening on: December 25, 2024

Robert Eggers’ fourth film is years in the making, but audiences will finally get to experience this reimagining of Nosferatu come Christmas time. For this gothic tale of obsession between a woman and the terrifying vampire haunting her, Eggers’ has tapped an all-star cast to bring his horrific vision to life. Come for Eggers’ eye for dark period pieces, stay for Bill Skarsgård playing another immortal monster.

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