It’s the hap-happiest season of all. We bring nature inside as we adorn our living spaces with seasonally appropriate trees, and we light up the longer nights with bright and colourful lights. Music from generations long since passed is re-played and re-contextualised, and centuries old iconography is re-evaluated and repurposed.

There’ll be parties for hosting, marshmallows for toasting, and carolling out in the snow. If we’ve been good, we’ll receive gifts (thanks Santa!), and if we’re lucky we’ll eat so much food we can barely move. Almost certainly, we’ll watch a movie. From the Netflix Originals of the current era to the silver screen classics of wartime Hollywood, Christmastime movie watching doesn’t discriminate based on picture quality, colour or the lack thereof, acting powerhouses or barely trained actors – if it works, it works. And if it’s good, we’ll hold onto it forever.

In this Movie List from The Film Magazine, we’ve scoured the annals of Christmas movie history to bring you the very best of the best to watch this holiday season. These films are Christmas classics and beloved cult hits, some culturally significant and others often overlooked. These films are seasonal treats; two advent calendars worth of movie magic from the big-wigs in Hollywood and beyond.

Short films (those with a runtime of under one hour) will not be included here, nor will films that cross multiple seasons but feel like Christmas movies – sorry You’ve Got Mail and Bridget Jones’s Diary. Debatable Christmas movies like Gremlins have also been omitted because of their inclusion in our alternative list “10 Excellent Non-Christmas Films Set at Christmas“. Seasonal classic The Apartment has also been disqualified on the grounds that it covers Christmas and beyond, and is arguably more of a new year’s movie.

These are 50 Unmissable Christmas Movies as chosen by The Film Magazine team members. Entries by Mark Carnochan, Kieran Judge, Martha Lane, Sam Sewell-Peterson and Joseph Wade.

Follow @thefilmagazine on X (Twitter).

1. Remember the Night (1940)

Golden Era stars Barbara Stanwyck and Fred MacMurray (who would go on to star in The Apartment) spark an unlikely romance when Stanwyck’s Lee Leander steals a bracelet from a jewellery store and MacMurray’s John “Jack” Sargent is assigned to prosecute her over the Christmas holidays.

One of the era’s many beloved studio romantic comedies, Remember the Night features all the elements that would come to define the genre while encompassing some screwball comedy and classic transatlantic accents. The tagline read “When good boy meets bad girl they remember the night”, and it’s likely you’ll remember this seasonal treat too. JW

2. The Shop Around the Corner (1940)

Few things signal classic Hollywood Christmases like Jimmy Stewart, and 6 years before arguably his most memorable performance in the iconic Frank Capra Christmas movie It’s a Wonderful Life, he starred in a seasonal favourite that was just as beloved by critics, The Shop Around the Corner.

This holiday romance from Ernst Lubitsch (who also directed Heaven Can Wait) sees Stewart’s Alfred fall in love with his pen pal who, unbeknownst to him, is the colleague he most despises at his gift store job – You’ve Got Mail has got nothing on this. With some hearty moments and all of the circumstantial comedy of the best movies of the era, The Shop Around the Corner will make you laugh and fill your heart in that special way that only the best Christmas movies can. JW

3. Holiday Inn (1942)

Early sound pictures were revolutionised by famed tap dancer Fred Astaire, and by 1942 he was a certified movie musical megastar. In Mark Sandrich’s seasonal musical Holiday Inn, he teams with would-be Christmas icon and man with a voice as sooth as silk, Bing Crosby. The result is one of the most iconic and influential Christmas movies ever made.

The film’s outdated attitude towards race are cringe-inducing and inexcusable in a 21st century context (there’s a whole sequence featuring blackface), but its other dated sensibilities shine bright amongst more modern and commercial Christmas films; its wholesome aura, classic dance scenes, and era-defining songs making for an unmissable experience. To top it all, Bing Crosby sings “White Christmas” for the first time in this film, cementing it in history as a seasonal classic. JW

4. Meet Me in St. Louis (1944)

Widely acknowledged as one of the holiday season’s best-ever films, Vincente Minnelli (An American in Paris) illuminates his would-be wife Judy Garland in arguably her most established performance, bringing Christmas cheer to all without sacrificing any of the harsh realities facing the American people in the first half of the 20th century.

Featuring the original (and arguably the best) rendition of Christmas classic “Have Yourself a Merry Little Christmas”, and being anchored by some heartbreaking story elements, Meet Me In St. Louis maintains its power and relevance 80 years on. It offers a Christmas movie that will forever mark the height of its sub-genre, as well as the two filmmaking careers (of Minnelli and Garland) that helped to define the era. JW

Recommended for you: There’s No Place Like St. Louis at Christmas

5. Christmas in Connecticut (1945)

Remember the Night star Barbara Stanwyck is once again front and centre for a Golden Era Hollywood Christmas movie, this time playing a city magazine editor whose lies about being a perfect housewife are put to the test when her boss and a returning war hero invite themselves to her house.

This is screwball comedy with all the spirit of the festive season is as romantic as it is funny, and prominently features the shadows of World War II to gift the film a unique emotionality that has ensured it is rewatched year on year. JW

 

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Willis is an actor synonymous with the silver screen, his work across a number of action franchises coming to define his legacy. In academic circles, his place at the centre of 1988 actioner Die Hard is considered to be a turning point for Hollywood action heroes as the industry moved from muscle-bound stars like Arnold Schwarzenegger and Sylvester Stallone towards a more identifiable form of masculinity. His presence at the forefront of the film, and his status as an (at-the-time) unlikely sex symbol, transformed action movie cinema forever, his balding head and hairy chest welcoming in a revolution of manhood across wider media.

On the small screen, Willis was a two-time Emmy winner, earning awards for his parts in ‘Moonlighting’ (1986) and ‘Friends’ (2000).

Though his career had taken a turn towards straight-to-VoD science fiction films as of late, the actor fronting a number of low budget films including Breach (2020), his late-career performance under the tutelage of M. Night Shyamalan in Glass, and his status as a reliably charismatic action hero, will live strong in the memories of those who experienced him at his best.

One such an answer that is often the cause of grievance and controversy is John McTiernan’s Die Hard (1988). For those who adore the season’s staples such as White Christmas and It’s A Wonderful Life, and modern favourites such as Elf and Love Actually, the idea that a film about a showdown between a single NYPD officer and a group of vicious terrorists is even considered a Christmas film is, frankly, disgusting.

Well, sorry haters, but it turns out that Die Hard is actually part of a long tradition of non-conventional Christmas flicks – we have an extensive catalogue of Christmas Horrors for example, from Black Christmas in 1974 to Krampus in 2015. Christmas even makes its appearances in the most unlikely of plots: Terry Gilliam’s masterpiece Brazil, an Orwellian black comedy, is a prime example, as is the legendary crime thriller The French Connection. However, neither of these examples are considered Christmas movies (not even in the alternative or ironic sense), and rightly so. Christmas isn’t the focus of these films and is in fact used to highlight the darkness and evil of the stories it’s used in. That’s not very festive at all!

How Can a film Be Considered a True Christmas Movie Beyond the Mere Inclusion of the Holiday?

If we ignore the blatant capitalist message behind nearly every mainstream Yuletide film, we should consider the real message behind the original Christmas Story – The Nativity of course.

Pushing past the shepherds, kings and angels, Christmas is essentially the tale of light shining in the darkness, living in the hope of reconciliation and redemption. These are therefore the essential themes of any real Christmas film. Natalie Hayes of BBC Culture, in her article “The Magic Formula that Makes the Perfect Christmas Film”, noted that for a film to be considered a true Christmas movie, it must include the following elements: desire, a touch of magic, the value of family, and of course a dose of trial and tribulation for our heroes to overcome.

As hollow as some of these films seem to be to the lovers of a more Traditional Noel, the likes of Jingle All the Way do in fact meet these requirements, and with Die Hard being one of the most exceptional and beloved action movies of all time, it seems a very reasonable choice as a favourite Christmas film too. But what has come to my notice is the criminal overlooking of another alternative festive watch, one with striking similarities to Die Hard, released only a year prior: Lethal Weapon.

Like Die Hard, Richard Donner’s film meets the pre-requisites of a Christmas Classic and is again one of the most popular action movies from the 80s, likewise spawning an iconic franchise. Have we been duped all along with putting our money behind the inferior flick, or is Die Hard truly the superior of the pair? On the basis of which film boasts the truest Christmas Spirit, let us experience the most exciting of movie battles… Die Hard vs Lethal Weapon.

Desire

Is there an element of desire in these films? A want for something unattainable?

This is the first of the many uncanny similarities between Lethal Weapon and Die Hard, as both display a desire for a return to normality.

In Die Hard, John McClane (Bruce Willis) is flying to L.A from New York to see his wife Holly Gennaro (Bonnie Bedelia) on Christmas Eve, who works at the Nakatomi Plaza which is throwing a party. It becomes apparent that this is the first time John and Holly have seen each other in over six months and that they are more or less separated (especially as Holly is now going by her maiden name). It is revealed that Holly’s move to L.A. for a once in a lifetime promotion became a point of contention in their relationship – we don’t know exactly why, but it’s easy enough to make some assumptions: back in 1988, finding out that your wife is making more money than you would be an enormous shake up in the family dynamic, possibly too much for some men to handle. It is clear though, that although they are estranged, their marriage isn’t finished – Holly and John obviously still have feelings for one another, but it’s mixed in with a great deal of hurt, stopping them from seeing eye to eye. Thus we have the desire element: John wants a return to normality, the re-establishment of his traditional family set up (very nuclear, with the man being the breadwinner and all), but more importantly he desires to be a part of his family’s lives again.

Lethal Weapon has a more convergent plot than Die Hard.

It begins with the daily life of two LAPD police detectives – Roger Murtaugh (Danny Glover), a fairly buttoned-down distinguished officer who enjoys the comforts of marital and familial bliss (and is learning to try to age gracefully), and Martin Riggs (Mel Gibson), a seemingly unattached man who is a total loose cannon on the job, wreaking havoc in his wake. The plot gleefully puts this odd couple together. It is Riggs who is the festive focal point of the movie as it his character that embodies the required desire element. Riggs’ careless and dangerous behaviour at work is suspected to be caused by suicidal tendencies after recently losing his wife in a car accident. There are occasions where it seems Riggs indeed wants to end his life, but this is actually more the desire to be reunited with his wife – the desire to be in a loving relationship again, the desire to have purpose.

It seems to be contradictory to the spirit of Christmas to have the film focus on the likes of depression and suicide, let alone in a film with probably the most insensitive approach to these topics, but that would be ignoring the fact that one of the most popular Christmas movies of all time, It’s A Wonderful Life, is about the divine intervention of an Angel working to stop a man from taking his own life on Christmas Eve. Die Hard is also depicting a common theme in Christmas fare, which is the impending breakdown of the family unit seen in the likes of The Preacher’s Wife and The Santa Clause. Technically both films are winning Brownie Points on that front, but the desire element is far more visceral in the case of Lethal Weapon: a shot of a teary-eyed Riggs shakily placing the end of the gun in his mouth after looking at the wedding photos of his dead wife is truly impactful.

Magic

The magic we could see in the likes of Die Hard and Lethal Weapon is not going to be in the traditional vein: no angels, no reindeer, no pixie dust, and very sadly no Santa Claus! That does not mean, however, that the magic they do have is not completely spine-tingling.

At first glance, the magic in Lethal Weapon is rather elusive, but it becomes apparent that the touch of Magic is indeed Martin Riggs, or really more Martin Riggs’ unorthodox policing methods:

“You’re not trying to draw a psycho pension! You really are crazy!”

In the real world, Riggs’ behaviour is not the kind to praise or laud, but Riggs’ apparent death wish makes him an almost unstoppable crime-fighting force – a lethal weapon. From deescalating a possible shootout by scaring the life out of a perpetrator, and saving a potential jumper’s life by throwing himself off the building whilst cuffed to them, it can be said Riggs gets the job done (in the most thoroughly entertaining way possible). However, his magical powers aren’t fully activated until he and Murtaugh are captured by the movie’s villainous drug barons – is it the electric shock torture or the power of new found friendship with Roger Murtaugh? Either way, Riggs is propelled into overcoming his captors and killing every bad guy that stands in his way, all in the name of rescuing his new partner. By the time we reach the climax, he is brutalised and half-drowned, yet he still manages to subdue the film’s Big Bad, Joshua (Gary Busey), by the power of his thighs alone. Magic.

With all that said, John McClane smirks and replies with a “Hold my beer.”

Die Hard is a more plot-driven story which lends itself to even more glorious action movie magic. It is made clear from the very beginning that McClane possesses the power of snarkiness, but the storming of Nakatomi Plaza by Hans Gruber’s (Alan Rickman’s) team of terrorists/thieves, catches McClane with his pants down (or rather with his shoes and socks off), leaving him to watch helplessly as the revellers of the office party are rounded up as hostages and Holly’s boss Mr Takagi (James Shigeta) is murdered. Luckily a present from Santa Claus re-establishes his cocky self-assuredness:

“Now I have a machine gun. Ho, ho, ho.”

In the 2 hour run-time, we witness McClane relentlessly wiggle his way out of tight squeezes using the meagre resources at his disposal (which he usually attains by annihilating some hapless bad guy), whether its irritating Gruber with smart-ass comments through a stolen walkie-talkie or tossing the body of a man out of the window in an attempt to attract help from the outside. It is once McClane manages to get the attention of the LAPD (the corpse-tossing worked a treat) that the real magic begins, which is the revelation that McClane is better than everyone else alive, including you – ironic given that he spent the first half hour desperately crying out for help.

Recommended for you: I’m a 90s Kid and I Watched Die Hard for the First Time This Year

John McClane resolves the terrorist siege single-handedly despite the presence of the LAPD, SWAT and the FBI; in fact McClane saves these apparent bozos from the machinations of the terrorists several times (whilst being mistaken as some sort of psycho killer to boot). Such a magical moment includes McClane blowing up a whole floor of terrorists (without miraculously harming any of the hostages), thus stopping their rocket launcher onslaught against the unsuspecting SWAT teams attempting to storm the plaza. Another noteworthy moment is when he rescues all the hostages from certain death seconds before some idiotic FBI agents unwittingly blow up a helipad they were gathered on (and as if saving countless lives isn’t enough, he narrowly escapes this chaos by leaping off the building with only a fire hose to save him from gravity).

It can’t be denied that the police politics of this 80s classic would be unnerving to modern eyes with its idolisation of McClane’s almost vigilante brand of justice, but with a healthy dose of self-awareness Die Hard is the ultimate power fantasy; one that is guaranteed to put a smile on your face. The exact kind of magic that you would need and want at Christmas.

As a basic siege film, the physical dangers faced by John McClane in Die Hard are of a much greater intensity than that of the leading duo in Lethal Weapon: the action is non-stop and quick paced, and far more shocking and gory. However, whilst Die Hard is driven by its plot, Lethal Weapon is more character focused, and as a consequence the psychological hurdles presented in Lethal Weapon are much more immense than those seen in Die Hard, despite the huge amount of peril Holly and John McClane face.

The Value of Family

It is now time to consider how much family is valued in these films; starting with Die Hard…

Is this film not just a metaphor for marriage and the active battle that is maintaining such a relationship?

It has to be confessed that it’s not exactly hard to be initially disappointed by John when we first meet him. It appears he has let his fragile masculinity get in the way of his marriage as he struggles to cope with his wife’s flourishing career. But my goodness is this an incredible attempt at reconciliation; the man walks over broken glass barefoot for Christ’s sake!

As we all know, big grand gestures can often be empty and meaningless; it is changed behaviour that is the real apology. So what a brilliant way to finish off this metaphor with Hans Gruber being defeated by John and Holly working together; transforming their marriage into a partnership – a union of absolute equals. It earns their riding off into the sunset, entangled in each other’s arms, and so gives us that desired cosy Christmas feeling – excellent!

Lethal Weapon, by comparison, has no such romantic metaphor; it instead depicts the very real devastation caused by unimaginable loss.

Martin Riggs is a man who is constantly putting himself and others in danger through his reckless behaviour, as he is now without purpose. He does state that it is “the job” that has so far prevented him from eating one of his own bullets, but the way he achieves results still points to a blatant death wish.

It’s when the initially dubious Murtaugh begins to let his guard down and allows Riggs into his inner sanctum, inviting him into his family home, that we see a transformation in Riggs. For you see, the central criminal scandal of Lethal Weapon – ex Vietnam War Special Forces officers turned drug baron mercenaries – most deeply affects Murtaugh; he is the most entangled and has the most to lose from this situation. By actually giving Riggs a chance (whose life literally hangs in the balance if he can’t find a working partnership), Riggs no longer lives dangerously for the sake of trying to feel alive whilst consumed with grief, he instead directs all of his ferocity towards protecting Murtaugh and his interests; this deep sense of caring spreads to the wider community surrounding him, seen when he is willing to grapple in the mud with Joshua after he murdered his fellow officers.

Lethal Weapon, in the contest of greatest redemption arc, takes the victory: Riggs is quite literally pulled from the jaws of death by the power of found family through his partnership with Murtaugh – they even share Christmas dinner. This transformation from death to life proves that Lethal Weapon values family the greatest.

True Christmas films are affairs of great emotion, our heroes often go through hell to then be redeemed with the happiest of endings. This is true for both Die Hard and Lethal Weapon, but it is proven that Lethal Weapon boasts the most intense and emotionally driven Christmas tale of hope.

All you Die Hard fans may have to reconsider your all-time favourite Christmas film, but if you guys don’t change your mind, there is nothing but respect for you: Die Hard is pretty kickass.

Recommended for you: 10 Excellent Non-Christmas Films Set at Christmas

In 2018, I watched Home Alone for the first time and it was magical. So this year, I thought I’d watch another classic Christmas film that I should have watched by now… Die Hard.

Before sitting down to watch the film, I knew only 2 things:

1. There is much debate about whether or not it is actually a Christmas film.
2. Alan Rickman is in it and Alan Rickman is hot.

Die Hard begins with John McClane (Bruce Willis) visiting his wife and children who have moved to LA for his wife’s work – well done Mrs McClane (Bonnie Bedelia), you go girl. John visits her office Christmas party and is the grumpiest man in the world – no wonder she left him – but then of course, as happens with all office Christmas parties, terrorists (led by the beautiful Alan Rickman as Hans Gruber) storm the offices to steal some money or codes or something like that. It is the 80s after all.

Importantly, the standout element of the movie was Holly (Mrs. McClane).

Holly McClane is a feminist icon, not only because of her power-suits and amazing 80s hair, but because she followed her own career from New York to LA; she’s independent and powerful in her own right.

She is thriving in her career and is, by all accounts, doing fine without her man – a part of me even hoped she was having a steamy affair with the hot bearded guy.

When John says that her move to LA changed their marriage, she tells him that ‘it changed your idea of what a marriage should be’. It is really exciting to see a genuinely independent woman. She stands up for her colleagues, standing up to Alan Rickman with sass and sexual tension (though maybe that’s just me?). When he says: ‘What idiot put you in charge?’ She returns with: ‘You when you murdered my boss.’ YAS QUEEN!

Then I remembered that this was a film released in 1988 and that I am more impressed with this representation of women than a lot of the women in the films of 2019. Then it became a point of sadness.

But back to Alan Rickman because Alan Rickman is hot!

I have always liked Alan, even as Snape. This is probably why it was even a surprise to me that I hadn’t seen Die Hard before now.

He doesn’t disappoint either; he is charming, cunning and of course very attractive. This was also Rickman’s first film! Can you believe that?

I particularity liked the scene in which McClane and Gruber met and, as I learned watching the Netflix’s “The Movies That Made Us”, this moment came by accident when Rickman said on set that he could do a convincing American accent. This moment was a saving moment for McClane, as it was important for him to prove that he was more than just an annoying grumpy cop that takes over when someone else is clearly more qualified. In this moment, he proved that he’s smarter than both Rickman and I thought he was.

I do not want to start another argument about whether or not this is a Christmas movie – I will leave that to Jack in The Film Magazine’s article “Is ‘Die Hard’ a Christmas Film?” – but my two cents are this: Die Hard is not a Christmas film.

It might be a film set at Christmas but it is not a Christmas film.

It is actually a film about a husband who should have just said sorry to his wife.

The only element of the film that makes it Christmassy is that it is set at Christmas, and people in the film try to force the idea that this is a Christmas film by whistling Christmas songs at me. I mean what says Christmas more than someone blowing off someone’s knee caps?

Die Hard is, however, important for Christmas because it helps to create a ritual for people that do not want to watch any of the plethora of sugar-coated Christmas films at this time of the year. It’s like how I personally watch Trainspotting on Valentine’s day.

As Jack says: ‘perhaps, it’s a Christmas film for those not so big on Christmas’.

Regardless of how typically Christmassy this film is, I did find myself asking: will I be watching this every Christmas for the rest of my life?

My answer: yes of course!

Die Hard (1988)
Director: John McTiernan
Starring: Bruce Willis, Alan Rickman, Bonnie Bedelia, Reginald VelJohnson.
Plot: When terrorists hijack a Christmas party at the Nakatomi plaza in attempt to steal a large some of money, only New York cop, John McClane is able to stop them.

Now that it’s December it’s deemed socially acceptable to start listening to Christmas music and start watching Christmas movies, but what makes a Christmas film exactly? It seems simple enough, as long as you have Santa Claus with a bit of snow and Christmas spirit thrown in, you can’t really go wrong. Some of the obvious Christmas films that come to mind are: Miracle on 34th Street, Elf, The Grinch and even Home Alone; but there are some films that are still up for debate, with 1988’s Die Hard being the biggest. Now, there’s a fifty percent chance that after reading that you’re probably tempted to report me for crimes against humanity for suggesting such a thing, but there’s also a fifty percent chance you’ll be delighted to discover that you may not be alone after all. For this article, I will take some of the biggest and most common codes and conventions of Christmas films and see if/how they are implemented in Die Hard, then I will answer the biggest Christmas movie debate of the century; is Die Hard a Christmas film?

Die Hard is set in Los Angeles on Christmas Eve, where New York police office John McClane (Willis) has ventured out to spend Christmas with his wife and children in order to form a resolution in regards to their long-distance relationship. Whilst attending his Wife’s work’s Christmas party, the building is taken over by terrorists and everyone in the building, apart from McClane, is held hostage. After the terrorists initially prevent any police intervention, McClane must find a way to alert the authorities, save his wife Holly (Bedelia) and the rest of the hostages, and foil the terrorists’ plan. Other than being set on Christmas eve, it doesn’t seem to have too much of a holiday feel, but let me continue…

What’s the most obvious theme in a Christmas film? Probably Christmas itself. Now that idea can come across rather vague as a film’s plot could be directly based around typical Christmas stories, or it could just simply take place during Christmas. One thing that can be guaranteed however, is that if it’s released during December and the plot is somewhat related to Christmas, it’s usually a sign that the film is trying to be festive. Die Hard actually takes place on Christmas Eve and it’s about a father wanting to reconcile with his wife and celebrate Christmas with his family. In this regard it seems festive on the surface. After all, Christmas is all about spending time with loved ones, right? This is a crucial plot point that is so often completely swept under the carpet due to the remainder of the film which is filled with swearing and graphic violence, but it remains true. As for the film’s release… the UK got it in February, while the US got it in summer blockbuster season (the middle of July); not exactly the ideal time to release a prototypical Christmas film. However, it was screened at the London film festival at the end of November, and Argentina and Portugal released the film on the 15th and 16th of December respectfully. So, while the film’s release date doesn’t really suggest a particularly festive intention, the film’s ideology definitely does; it takes place during Christmas and to an extent promotes the values of it.

What about a Christmas song? Every Christmas film is littered with festive music, whether it’s the likes Frank Sinatra or Dean Martin a Christmas soundtrack is instantly recognisable and really helps give a film a Christmas ambiance. When you think of Die Hard, you don’t really associate it with any Christmas music, but in truth it’s everywhere in the film. The first song comes on during John McClane’s limo journey where the hero of the piece is subjected to listening to Run-D.M.C.’s ‘Christmas in Hollis’. In fact, McClane asks: “You got any Christmas music?” To which Argyle responds: “This is Christmas music!” Naturally, due to the song’s genre, it isn’t instantly recognised as being festive, but whichever way you look at it, it is a Christmas song. Secondly, as minor as it may be, John McClane can be heard whistling ‘Jingle Bells’ whilst walking through the Nakatomi plaza and, thirdly, ‘Let it Snow’ by Vaughn Monroe is played during the end credits. It’s also worth mentioning that parts of ‘Winter Wonderland’ by Felix Bernard and Richard B. Smith was implemented and blended in with the film’s main soundtrack to maintain a festive consistency throughout the film. The film’s composer Michael Kamen also uses the sound of sleigh bells at the start of the film during the airport scene. Whilst the sound of sleigh bells is traditionally festive, in this instance they are composed in a menacing way to juxtapose the joyful, festive season with a sense of danger and dread.

So, Die Hard is set during Christmas, it promotes Christmas values and it has an abundant Christmas soundtrack; but what else does it need to really make it a Christmas film? Is it in a Christmas environment? Well, the answer to the second question is that the film is set in Los Angeles on Christmas eve, which doesn’t necessarily have a festive atmosphere, but the warm climate of the West Coast explains the lack of snow, a major factor in many Christmas films. Despite this, the building is smothered in Christmas decorations and during the end scene, the explosion of the building produces a snow-like confetti of money, which acts as a substitute for snow. Just for good measure the film even throws in a number of Christmas references and the majority of characters acknowledge the festive season. Finally, and perhaps this is a ridiculous personal theory of mine, John McClane is a representation of Santa Claus. Like Santa, he arrives on Christmas Eve via a flying carriage wielding gifts (or in this case via an aeroplane and wielding a giant teddy bear), and while he doesn’t wear a red and white suit or a large white beard, by the end of the film he’s in a white vest and is covered in blood, which of course, is red. As well as being an expert in abseiling down a building, as opposed to going down the chimney, at the end of everything, he manages to save Mrs Claus – Holly McClane – and save Christmas.

After looking at all the themes and ideas, I think it’s clear that this iconic member of the action movie genre is a Christmas film, and that it’s really surprising that a large percentage of people still dismiss it as so. Perhaps it’s the summer release and the violent nature of the film that are the contributing factors? After all, it’s fair to understand that people don’t want to associate Christmas with terrorism and violence, but rather a light-hearted film with a positive message. The film’s violent and graphic nature is perhaps enough to take away all of the other factors that arguably make it a Christmas film, but Die Hard is simply a slightly unconventional Christmas film that deviated from the typical idea of what they should be. Therefore, despite the violence, I still believe Die Hard carries enough justification to be classed as a Christmas film; it’s bold, exciting and emits a strong Christmas vibe without being too corny. Perhaps it’s a Christmas film for those not so big on Christmas.

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