40 years later, this Christmas movie is still the worst ever

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40 years later, this Christmas movie is still the worst ever

In November 1985, Santa Claus: the movie arrived with the promise of giving Christmas films the same legendary treatment as the producers Alexander and Ilya Salkind had led to Superman. On paper, the project made perfect sense. If anyone could elevate a beloved cultural figure to the status of epic, modern mythology, it would be the producers who had already convinced audiences that a man could fly. Directed by Jeannot Szwarcwho had directed Supergirl a year earlier, it had a team with the experience of bringing myths to life and the potential to be an epic family film.

Instead, viewers were treated to a shrill, disjointed film that disappointed critics and audiences alike; in retrospect, more Supergirl that Superman. Santa Claus remains one of the most enduring figures in global storytelling, and his origins could make for an enchanting holiday adventure. Instead, Santa Claus: the movie is one of the worst Christmas movies of all timea garish mess that prefers noise, color and burlesque to fantasy or joy.

A Santa Claus story without magic

The opening of the film shows glimmers of promise. David Huddleston looks just like the iconic Claus; he is warm, robust and cheerful. He has the beard and looks great in the red suit, and he often appears on lists of the best movie Santas. As a humble woodcarver, he was swept away to an elven kingdom during a blizzard and proclaimed the chosen one who will bring joy to all the children of the world.

But the script fails Huddleston, giving his Klaus no sense of inner life or tension. Huddleston’s Santa Claus never expresses fear, hesitation, or desire, even when confronted with the revelation that his life’s purpose is essentially divine. He reacts to an eternity of gifts with a simple, happy shrug. When faced with moral choices, like how to deal with naughty children, conflicts instantly evaporate.

Other cinematic Santas bring perspective or personality, like That of Ed Asner grumpy charm in Elf, JK Simmons tragic nobility in KlausOr Tim Allens deadbeat dad who became a believer in Santa Claus. That of David Newman the scenario, however, avoids emotional issues. Santa’s personality never goes further than “glad to be here”, which becomes particularly egregious in comparison to how the Salkinds treated Superman. That of Christopher Reeve Man of Steel was heroic not because of his powers but because of his humanity. Here, Santa Claus is treated as an icon that needs no depth. It looks perfect on a poster, but there’s nothing to support a two-hour film.

All show, no spark

For a while, the film almost survives on its production design and effects. The snowstorm that nearly consumed Claus and his wife is impressively staged, the animatronic reindeer are fun, and the North Pole workshop is lovingly constructed. There’s a point where it’s easy to imagine this turning into an imperfect but watchable holiday staple.

But there’s no magic and Szwarc’s direction is overshadowed by the production. The elaborate sets and props come across as hollow and plastic as the film avoids building a world around them. There is nothing The Polar Express’ sense of scale or Elf Special TV charm. Even the chaotic Red had a fresher view of the North Pole. Santa Claus: the movie starts with “let’s make a big Santa Claus movie” and stops there. Nothing is drawn from “Twas the Night Before Christmas,” world folklore, or even traditional holiday stories, but nothing original fills the void either.

The colorful costumes and sprawling sets are reminiscent of a musical, which could have at least given it some energy. Instead, it throws a few half-hearted Christmas standards onto the soundtrack and leaves the world feeling both overproduced and dramatically inert. The film stays put for almost an hour. And then it gets worse.

Santa has never been so naughty as in this Christmas special

I have, I have, no.

Everything goes wrong in the 80s

Santa Claus movie-2 — Seeing is believing.

When the story shifts back to the 1980s, the film’s fragile charm shatters under cartoon chaos, garish design, obnoxious product placement, and painfully cringy filmmaking. Dudley Moore performance. Moore plays Patch, a forgetful, pun-loving elf whose need to prove himself launches an absurd subplot.

Whatever tone of wonder existed evaporates. The film becomes a zany, raucous comedy as Santa teams up with an orphan to stop Patch and an eager toy executive from presenting “Christmas 2.” John Lithgow at least understands the mission, delivering hammy energy as the evil tycoon BZ, but even he can’t save the film’s tonal punch. What follows is a barrage of slapstick stunts, clumsy moralizing, and a finale that feels slapped in at the last minute.

The film also becomes unabashedly commercial in a way that feels uniquely and painfully 1980s. Santa films often attempt to make the character “cooler” for children, Santa ClausI had That of David Krumholtz Bernard and the ELF team, Netflix transformed Kurt Russell into a charismatic Christmas idol twice, but Santa Claus: the movie relies on a corporate version of Christmas that feels cheap and desperate. An orphan gazes longingly out of a McDonald’s window, a holiday dinner is incomplete without a can of Coke, and John Lithgow sips Pabst Blue Ribbon from a glass of wine. These moments aren’t just bad product placement; they actively destroy any sense of myth. Santa Claus suddenly seems less like a timeless figure and more like a mascot trapped in a brand catalog.

“Santa Claus: The Movie” was a missed opportunity

Santa Claus: the movie wanted to be the definitive cinematic Santa Claus but never identified what gave this character meaning. The story of Santa Claus contains themes of generosity, transformation and enduring hope, all fertile ground for fantasy and emotion. THE Salkinds recognized the potential, but never had a script ready to explore it.

Instead, the film has become a curious footnote in holiday cinema: a well-financed spectacle that mistakes volume for emotion and glitter for wonder. In the decades that followed, more interesting Santas and films like Klaus showed how rich mythology can be when treated with imagination and heart. Forty years later, Santa Claus: the movie remains a brightly packaged package with nothing insidea reminder of how easily a good idea can be buried under noise, excess and the mistaken belief that Christmas magic can be made to order.

Santa Claus: the movie is currently streaming on Peacock and Prime.