Michael Briskett is your typical corporate office geek. The CEO picks on him, he throws Christmas parties where nobody comes, and he's the only one in the company who receives dull work with a deadline on Christmas Eve. When he spends a wonderful evening with Cindy, the prettiest girl at the office, and she then also invites him to spend Christmas with her and her family, it seems too good to be true. And it is...

Ah, Christmas traditions! Some people drink eggnog and eat stuffed turkey, others sing Carols. The tradition of yours truly is to watch at least one holiday-themed horror movie around the Christmas period; - the bloodier the better.

"Mercy Christmas" isn't a very good movie. In fact, it's a highly unoriginal and predictable movie, and if I wasn't in such a festive mood, I probably would have flunked it big time! Buy hey, it's the season to be jolly, and thus I can even tolerate another umpteenth horror story about a cannibalistic family that looks perfectly normal from the outside, victims strung up with colorful Christmas lights, and shrieking grannies. The middle-section seemingly takes forever, with irrelevant padding footage and dull conversations, but the final 15-20 minutes luckily are gory and sadistic.

One look at the premise suggests derivation from 1988 horror-comedy 'Lucky stiff,' which begins with nearly the exact same concept. 'Mercy Christmas' makes it clear very quickly, however, that despite core similarities, this is a different movie, its very own. There's strong balance between the two genres, and the humor is played very straight, a far cry from the pure spoof energy of Pat Proft's screenplay in the prior film. The blood, gore, and violence is especially grisly, and the dry wit that counters it is especially cheeky. One rather suffers a bit of whiplash, at some points, for how much and quickly it shifts moods. With all that said, importantly - this is really fun!

For all the grim brutality and the nature of the family's traditions, the utmost nonchalance of their behavior - paired with their perfectly mundane lives otherwise - makes for particularly devious entertainment. It would be all too easy for the precise equilibrium to be thrown off in one direction or another, but filmmaker Ryan Nelson, with Beth Levy Nelson, has penned a marvelously adept screenplay. Each and every character has strong, diverse personalities, with varying moods, and the dialogue is rich with both heart and cleverness. The overall narrative is complete, and unexpectedly compelling, bearing a great deal of detail. And so it is, too, with the scene writing - vibrant and electrifying, whatever the specific tone being struck at any one time. This is only Nelson's first full-length feature film as either writer or director, but he most assuredly demonstrates a practiced hand in both capacities. Honestly, this is just such a joy!

I love the score composed between Mark Leonard, Chris Bills, and Daniel Lepervanche, generally staying in the background yet lending small touches of atmosphere as appropriate to any given scene. More to the point, the music reaches a gratifying, cacophonous crescendo at the climax, while also maintaining a flavor that contrasts with the events unfolding - a highly memorable arrangement, to say the least. The blood, gore, and makeup looks great, the set design and decoration is lovely, and stunts and choreography are fantastic. And I must also extend commendations to the excellent cast, who all do so very well to embody their lively characters and make them feel real. Every changing mood, every ounce of fear, spite, unease, love, or dominance, is realized with wonderful vividness. Everyone involved carries admirable range, nuance, physicality, and personality in bringing their roles to life - and with image quality this brilliantly sharp, we see every last subtlety.

I admit I had mixed expectations as I began watching, in no small part owing to the seeming comparison to 'Lucky stiffs.' But in no time at all this picture proved itself to be a beast all its own, and a very worthy one at that. In every regard it's quite well made, with the writing and performances standing out most of all. Anyone who enjoys what horror-comedy has to offer as a genre will surely find much to love here, as I did. Funny, visceral, and a peculiarly engrossing good time, 'Mercy Christmas' is a film that deserves a lot more attention.

If The Texas Chain Saw Massacre were a Hallmark holiday movie, it would be Mercy Christmas, which celebrates the importance of Christmas traditions - in the company of a wonderfully deranged family of suburban cannibals!

Lonely downtrodden office worker Michael Briskett (Steven Hubbell) is given a ton of work to do before Christmas by his overbearing boss Andy Robillard (Cole Gleason). When Mr. Robillard's sexy assistant Cindy (Casey O'Keefe) invites Michael to her family home for Christmas, he accepts, providing he can take his work with him. Michael is welcomed in with open arms by Cindy's family, but passes out after knocking back an eggnog, waking up to find himself tied up in the basement, just one of several unfortunates destined to become dinner for Cindy and her kin.

I knew nothing about Mercy Christmas going in, having picked it at random from numerous low-budget Christmas horrors on Amazon Prime; I was very happy, then, to find that the film was not only very entertaining, but easily one of the most original and fun festive horrors I have ever seen. Forget the over-rated Black Christmas - this film is about as black as it gets, a deliciously demented tale with a really warped sense of humour and a mean-streak a mile wide. It takes a while to get going, and the low budget is evident, but stick with it 'cos it gets progressively more crazy and bloody as it goes along, culminating in a gory final act that is as funny as it is jaw-droppingly violent.

8.5/10, rounded up to 9 for IMDb.