Silent Night (2021) review – A tonally disjointed apocalypse where nobody is likable
Silent Night: Quick Verdict
The Verdict: A tonally disjointed apocalyptic black comedy that struggles to bridge the gap between middle-class farce and nihilistic tragedy. While the “stiff upper lip” British humour provides some early chuckles, Silent Night eventually collapses under the weight of its own grim premise. It’s a movie with an eerily timely message that is unfortunately diluted by unlikable characters and a jarring shift into melodrama. It’s an interesting experiment in festive dread, but one that is ultimately as confused as its protagonists.
Details: Director: Camille Griffin | Cast: Keira Knightley, Matthew Goode, Roman Griffin Davis | Runtime: 1h 32m | Release Date: 2021
Best for: Fans of pitch-black British comedy, apocalyptic “chamber plays,” and those who don’t mind their Christmas movies ending on a relentlessly bleak note.
Worth noting: Despite being a “horror-comedy,” the film is largely dialogue-driven and focuses on the psychological toll of a suicide pact.
Where to Watch: Available on AMC+ and for rent on Amazon and Apple TV.
Rating: 2.7/5 Stars
(Confused tone, unlikable cast, grim second half)
Welcome to Knockout Horror. Today we are checking out a confused little British horror comedy from 2021 called Silent Night.
Highlights
A macabre yet timely plot
Silent Night follows couple Nell (Keira Knightley) and Simon (Matthew Goode) as they host a Christmas party with all of their children, childhood friends, and their friends’ spouses. As the group reminisce and catch up, one dark fact lingers over the festivities: an impending toxic storm is approaching, and the party will end with them all taking their own lives.
“They are a pompous, posh, self-righteous, and obnoxious group of people that you couldn’t imagine wanting to spend a single night with.”
As you can probably gather from the above synopsis, this is a pretty grim story. The end of the world is approaching and everyone has been given a pill to take that will end their lives without suffering. The group of friends have decided to have one last get together and, collectively, take their tablets at the conclusion of the party.
It’s not exactly festive, is it? And, outside of the decorations, this isn’t a particularly cheerful film. A fact that you wouldn’t necessarily guess with how director Camille Griffin has chosen to approach it. For the first hour, or so, Silent Night plays out as a fairly traditional comedy movie. There is a distinct focus on the awkwardness of holiday interactions and the shared feeling of obligation that drives these particular events.
The kids don’t like each other, old rifts between the friends are brought up, personalities clash, and it all feels very familiar. The only thing that sets Silent Night apart from other similar movies is just how abhorrent the cast are. They are a pompous, posh, self-righteous, and obnoxious group of people that you couldn’t imagine wanting to spend a single night with, let alone the last one of your life.
A huge and jarring tonal shift
Griffin plays on the obnoxious traits of these characters to create a few laughs. Naturally, it is all very English and the humour might fly over the heads of a lot of viewers. Fans of British comedy will probably enjoy it, though. It’s nothing uproarious, but characters like the entirely over-the-top Bella (Lucy Punch) are a lot of fun, and the simpering Tony (Rufus Jones) earns a few laughs for how passive he is.
“We are discussing conspiracies, matters of compliance, climate change, and groupthink. Subjects that would become eerily pertinent around the time of this movie’s release.”
Around the midway point, the tone starts to shift and Silent Night begins its transition into something, altogether, more serious, pointing the focus squarely at the existential crisis being suffered by one of the guests at the party and one of the host couple’s children, Art (Roman Griffin Davis).
The humour takes a back seat and, all of a sudden, we are discussing conspiracies, matters of compliance, climate change, and groupthink. Subjects that would become eerily pertinent around the time of this movie’s release, despite it being filmed in 2019. The last 30 minutes, or so, are utterly grim, with the humour suddenly feeling completely artificial and the seriousness that Griffin is attempting to project seeming completely out of place.
It’s just a very confused film
This is a movie that suffers from abundant confusion and a messy sense of identity. It doesn’t know whether it wants to be a black comedy or a serious deep dive into the human condition and the public’s trust in government. It tries to be both and, to be perfectly honest, it never really succeeds, all that well, at either. The sacrifices Griffin makes to keep things light and comical seriously undermine the deeper message, while the rather depressing second half robs the movie of all levity and makes you question just what Silent Night is trying to be.
As the final scenes roll, taking themselves entirely seriously and requesting the viewer to do exactly the same, despite the hour or so of silliness that preceded them, it’s hard not to wonder just what the point was in any of it.
“The sacrifices Griffin makes to keep things light and comical seriously undermine the deeper message, while the rather depressing second half robs the movie of all levity.”
There’s no real message here of any depth or significance. The characters aren’t likable and you don’t really feel for them in any meaningful way. The movie isn’t all that affecting and it’s devoid of much in the way of entertainment. It is, often, a laborious, dialogue-heavy, and fairly pretentious film that is never quite sure what it wants to be. That’s without mentioning the fact that it isn’t really horror. Outside of the end-of-the-world themes, there is little here for fans of the genre.
Acting is a mixed bag
There are a fair few famous faces taking the helm in Silent Night. The two biggest being Matthew Goode and Keira Knightley. Goode feels pretty checked out, throughout. He delivers his lines with a distinct lack of energy and really falls flat in some of the more emotional moments. This isn’t a script that offers him much to work with, though. Knightley is okay but still manages to overact in a few scenes, as she is often wont to do.
Lucy Punch is a lot of fun as Bella. Kirby Howell-Baptiste and Lily-Rose Depp act as something of a respite from the rest of the characters as they seem like the only normal people at the party, making their scenes refreshing for the sheer fact that they feel a little different from the rest. Davida McKenzie is extremely over the top, in a bad way, and not at all enjoyable as Kitty. Again, it’s not her fault; the script is crap, in parts. Rufus Jones, as Kitty’s long-suffering husband, is decent in a pretty small role.
Roman Griffin Davis, as Art, does a nice job. He seems like a confident performer, especially given the gravity of the role. The constant swearing is going to annoy people, though. I get it; I would have sworn constantly if my parents let me so it makes sense given the context. I still do now as an adult. Cinematography is nothing special. The house feels very claustrophobic, much smaller inside than out, offering few opportunities for creativity. The special effects look pretty awful, in parts, too.
The Good, The Bad & The Ugly
The Good
- The Premise: An incredibly bold and dark concept that explores how humanity might spend its final hours with a “stiff upper lip.”
- Roman Griffin Davis: Delivers a mature and confident performance as Art, acting as the film’s moral and emotional anchor.
- Lucy Punch: Brings much-needed comedic energy to the first half as the over-the-top Bella.
The Bad
- Tonal Confusion: The transition from awkward holiday comedy to existential dread is jarring and never quite gels.
- Unlikable Characters: Spending time with such a self-righteous and abrasive group makes it difficult to feel any genuine sympathy for their fate.
- Messy Message: The film’s attempts at social commentary feel half-baked and are undermined by the comedy-drama format.
The Ugly: The “Suicide Pill” narrative. It’s a relentlessly grim plot point that, when combined with the children, makes for an extremely uncomfortable viewing experience that lacks a clear payoff.
Should You Watch Silent Night?
Only if you have a high tolerance for bleak British satire. It’s a well-acted film with a fascinating idea, but it’s ultimately too confused and dialogue-heavy to recommend to most horror fans. It feels more like a depressing stage play than a festive horror-comedy.
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