Fantasia 2026: UNHOLY NIGHT

Courtesy of Blue Finch Films Releasing

There's something about the pairing of the winter holidays and horror that feels like a warm blanket. It doesn't seem like they'd work, but more often than not, it leads to a great time. The better the concept, the better the results. On paper, UNHOLY NIGHT fits the bill to a "T", by taking a tight-knit (Canadian) Italian family and putting them right into the path of murderous undead relatives. The only problem is that, as entertaining as it can be, it struggles with tone in a way that holds it back from being truly special.

For middle-aged Gino (Marc Bendavid), the Christmas holiday is often a time of strife. Not only does he have to deal with the arrival of his Uncle (Frank Spadone) and Aunt (Ellen David), but his brother (Olivier Renaud) and sister (Cristina Rosato) get endless enjoyment from needling his life choices. As the film opens, he's particularly out of sorts. The shirt he wants to wear is mocked by his mother (Toni Ellwand). His father (Ron Lea) admonishes him for "having the gall" to cut cantaloupe into cubes, rather than slices. He even has a quick run-in with his ex, Rene (Shailene Garnett), who's unexpectedly returned to town.

None of that compares with the visitor who interrupts the family dinner that evening: Nonna Pina (Jacqueline Robbins). Yet that's because she passed away a couple of years ago.

Now, the idea of the undead milling about isn't new or original, especially in 2026. Nor is the idea of the undead going about their old lives, through some mental fog. What separates writer-director Michael Gabriele's take from the others is the humanity he brings to them. Quite literally.

When Gino and his family pile into the kitchen, it's not just Nonna standing there that shocks them. Despite being dead, she seems somewhat put together. Whisking away at a pasta sauce and chiding Gino's mother's cooking. There's something about following—or allowing the dead to follow—tradition that keeps these figures (it's never explained if they're zombies, specters, or what have you) docile. A fact the family tries to remember, as other dead relatives descend upon the house. The moment these figures get agitated, though, they quickly become fueled by rage and leave a trail of blood and body parts behind.

Courtesy of Blue Finch Films Releasing

Beyond this novel take and general subversion of certain tropes, UNHOLY NIGHT's strength lies in its casting. Everyone in the film is a character actor of some renown, with resumes that either involve every Hallmark-adjacent Christmas movie, every police procedural, or every mafia-related project known to history. There is an inherent bond between them all that makes the family-centric scenes and the humor they often employ work extremely well.

The downside is that while the family dynamic is strong, it tonally clashes with what's going on around it. Drama gets abruptly undercut by the undead making an appearance. A side trip to an elementary school runs entirely too long. Too much hypothesizing goes on, without any direct payoff. The third act partially takes place in a Fulci-esque nightmare that just comes out of nowhere. On an individual basis, the set pieces work, yet there isn’t even a threadbare mythology to attempt to string it all together.

This vibe extends equally to the film's violence. When it crops up, it's satisfying. Bodies are disemboweled with glee, necks are satisfyingly snapped, and wooden spoons are plunged down throats. It's just that due to the infrequent intervals at which it's unleashed, it ends up feeling oddly tacked on to fit genre conventions more.

The mixing of tones and sequences leaves a confused movie in its wake. One has good laughs, but isn't a comedy. Features bloodshed and demonic angry spirits, but isn't a horror movie. It's set at Christmas, but that's more of a background aspect.

Courtesy of Blue Finch Films Releasing

All that said, it's hard not to give UNHOLY NIGHT at least a soft recommendation. As a feature debut, Gabriele clearly has eyes bigger than his production and script can handle. Yet, the Christmas genre as a whole isn't exactly a paragon when it comes to quality entertainment. From schlocky horrors to overly saccharine family fare to whatever dreck studios are cramming into theaters, "decent" is essentially a ringing endorsement.

UNHOLY NIGHT might have its share of problems, but at least it's attempting to stray from the normal path, in search of something new. That's commendable, and exactly the kind of thing that ensures this little movie is sure to find its audience. As long as they're willing to adjust expectations accordingly.