Name: A Not So Merry Christmas
Genre: Comedy, Family
Released: 2022-12-20T00:00:00+00:00
Cast: Mauricio Ochmann, Ana Brenda Contreras, Manu NNa, María Rojo, José Sefami

The opening scene of A Not So Merry Christmas is a grimacing Mauricio Ochmann as Chuy, snarling through yet another festive family gathering. It’s an image that encapsulates the film’s central conceit: a man cursed to relive Christmas Eve repeatedly, thanks to a spell cast by a disgruntled fairy godmother (Manu Nna). Directed by Mark Alazraki and written by a trio of scribes, this Mexican Netflix offering is a remake of Brazil’s Just Another Christmas, transposing the premise to Mexico City.

The film’s setup is promising: Chuy, a grinch-like figure who loathes Christmas, wakes up to find he’s lived an entire year but only remembers December 24th. The idea of exploring his repeated attempts to navigate family dynamics and personal growth within this time loop could have been rich territory for comedy or even drama. Unfortunately, A Not So Merry Christmas squanders its potential with a leaden execution that feels more derivative than delightful.

Ochmann’s performance is the film’s sole saving grace. His deadpan delivery and physical comedy land a few genuine laughs, particularly in scenes where Chuy grapples with the absurdity of his predicament. The supporting cast, however, falls flat. Ana Brenda Contreras as Daniela, Chuy’s long-suffering wife, and Manu Nna as the fairy godmother, both struggle to imbue their characters with any depth or nuance.

The script’s attempts at humor often rely on repetitive gags that grow tiresome quickly. The film’s structure—repeatedly showing Chuy reliving the same day with slight variations—lacks the ingenuity of better time-loop narratives like Groundhog Day or even Palm Springs. Instead, it feels formulaic and predictable, as if the writers were more interested in ticking off plot points than crafting a compelling story.

Visually, the film is serviceable but unremarkable. The Mexico City setting provides some vibrant backdrops, but Alazraki’s direction fails to bring any fresh perspective to the material. The cinematography is functional, but the lack of distinctive visual flair further underscores the film’s generic nature.

The soundtrack, however, offers a moment of respite. The inclusion of traditional Christmas songs, reimagined with a modern twist, adds a layer of festive cheer that the rest of the film sorely lacks.

Ultimately, A Not So Merry Christmas is a missed opportunity. Despite its promising premise and Ochmann’s commendable performance, the film stumbles under the weight of its own derivativeness and lack of originality.