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The goofy and charming "Klaus" probably plays better if you don't know going in that it's a Santa Claus origin story. That's almost inconceivable considering the tip-off title, the trailers, and, well, everything else about the project, but you take your pleasures where you can. Jason Schwartzman provides the voice of the hero, Jesper, the spoiled descendant of a politically powerful family. We first meet him as he's lounging at the Postal Academy in a vaguely defined European country, figuring he can slack off until he gets passed through and pushed into the world, where he'll coast on family money and connections.

Instead, as a last-ditch effort to make him care about, well, anything, the academy assigns Jesper to the remote island town of Smeerensburg, which hasn't sent or received mail in years, and that is riven by clannish civil war wherein citizens destroy each other's property in wild, ridiculous ways that evoke old Looney Tunes shorts. Narratively, the first part of this film is as familiar as the rest, but its silly ominousness is entrancing, and Schwartzman is appealing as the layabout Jesper, a soft, craven, but ultimately decent hustler who sounds like—and is somewhat drawn like—the hero voiced by David Spade in " The Emperor's New Groove ."

Director/co-writer Sergio Pablos puts Jesper at the center of wild, humiliating bits of slapstick. These are inventively staged, and quite satisfying considering what a brat the character is. It's a treat to see a modern animated film that isn't afraid of absurd sight gags and bleakly funny lines of dialogue that have more in common with the work of Roald Dahl or Tex Avery than the typical big-studio animated feature that tries to put sensitivity upfront at all times. A girl the size of a Tolkien giant looms over Jesper like the Abominable Snowman that took Daffy Duck as a pet. A group of kids on sleds insult Jesper as they zoom over a hill, their hatefulness such an afterthought that even the hero seems confused by how to react. Arriving at Smeerensburg on a ferry, Jesper's jaw drops as he gazes at the island through curtains of slate-colored mist and sees a silhouetted whorl of decrepit buildings slumped atop jagged hills. It's a hope-draining panorama, devoid of color and suggesting a machine made of rotted fangs, directing the viewer's eye towards a pathetic circle of sunlight in the top part of the frame. "Charming, huh?" says the ferryman. "Well, you should see it in the spring."

Then, after pathetic efforts to convince somebody, anybody, to send a letter so that he can have an excuse to leave this awful place, Jesper meets a burly, bearded craftsman (J.K. Simmons) in a remote stretch of woods, and the origin story begins. Klaus is a quiet, frighteningly strong-looking hulk—initially presented as a monster, his face obscured or hidden— but he's a gentle soul and a gifted artist. Even though you can see where his story is going to end up (with the establishment of a toy factory and the acceptance of a mission), it's still pleasurable to watch him and Jesper build a bond that connects both of them to a world that they'd both held at arm's length, though for different reasons.

The look and sound and personality of "Klaus" are the main reasons to watch it. It's a fairy tale-inflected period piece that has a slightly different look and feel from the Pixar-DreamWorks-Blue Sky usual— essentially '90s Disney by way of 19th storybook illustrations and much older woodcuts. Pablos came up during the final years of Walt Disney's traditional, hand-drawn animation department, working on such blockbusters as " Tarzan ," " The Hunchback of Notre Dame ," and "Hercules." Even though "Klaus" was made digitally, you can feel the influence of that period. The images are intricately molded and shaded, and composed in a way that often mimics a lavishly budgeted, live-action Disney fantasy; but the film isn't knocking itself out to convince you that anything onscreen is "real," in the manner of recent Disney 3-D animated remakes like "The Lion King," or even " Toy Story 4 ," with its photorealistic roads, rain, and foliage. I doubt pens ever touched ink except at the concept stage, yet the whole thing feels sketched and painted by human hands, and both the landscapes and the characters' movements are more about realizing dramatic or comic notions than making you think anything in the story could "really happen."

The writing (by Pablos, Zach Lewis and Jim Mahoney ) is less distinctive: a "selfish person learns to care about others" storyline; anachronistic dialogue packed with slang that'll be dated in a year, and moments where characters high-five each other, which I'm pretty sure wasn't common in the 19th century; a rather thin "strong woman" character who is mainly there to enable and reflect the hero's evolution (Rashida Jones' fishmarket butcher, who used to be a schoolteacher back when the citizenry cared about learning stuff). And of course there are occasional pop songs on the soundtrack, a practice that has become mandatory in animated features post-" Shrek ."

But because the Pixar-DreamWorks-Blue Sky usual is the only kind of animation that's allowed into mainstream theaters right now, even a minor variation is so commercially poisonous for animators that "Klaus"—the umpteenth version of one of the most-retold stories in history, and a film that fits the marketplace template pretty well, all things considered—was reportedly hard to fund. It was finally made by Netflix, and (following a brief theatrical run) it will mainly be seen on TVs, laptops, and phones rather than on theater screens, where its most distinctive qualities are more likely to be appreciated.

There's a business story in all of this, and not one that will gladden young animators' hearts. I'm not a kid anymore, but I still might write a letter to Santa this year asking for the range of artistic possibilities for commercial animation to open up again, so that films like "Klaus"—and Laika animated features like " Coraline " and " Missing Link ," and idiosyncratic imports like "A Cat in Paris" and " Funan "—won't be treated like troubling deviations from the norm.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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‘Klaus’ Review : A Santa Origin Story

A postman dashes through the snow with a certain toymaker in this animated holiday film.

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By Glenn Kenny

Jason Schwartzman does almost too good of a job voicing an irritating character in the animated movie “Klaus.” He plays Jesper , a student who is deliberately flunking out of the postal academy. He believes that his father, the academy’s head who’s been indulging the kid’s cushy lifestyle, will hand him a cushy position with an “as you were.” Not so.

Instead, Jesper is given a mission: to revivify the post office of Smeerensburg, an island above the Arctic Circle. Through his dressing-down and into his journey north, Jesper complains in terms associated with stereotypes of entitled Gen Z-ers , with a whiny pitch and lots of anachronistic vocabulary. “Can we talk about it, man?” is his most emphatic bit of resistance to the proposed exile.

Thank goodness there are things worth watching over Jesper’s puling. “Klaus” is the first feature directed by Sergio Pablos, a Disney veteran who created the story for “Despicable Me” and founded his own animation studio . The dominant influence here is not just Disney but vintage Disney.

The backgrounds and character design at the postal academy bring to mind the 1959 version of “Sleeping Beauty.” Smeerensburg is an intimidating and sometimes terrifying place at first; suffused with gray on Jesper’s arrival, alive with grotesque shadows and sickly green in one of its fish shops, and still bleak in the next day’s ostensibly cheery yellow sunshine. The inventive use of color evokes the work of Mary Blair , the Disney studio’s secret tint weapon from the 1940s to the ’60s.

Jesper gets a bit less insufferable as he plumbs the place’s mysteries. There’s a persistent feud between two clans. The disillusioned schoolmaster Alva (Rashida Jones), who turned fishmonger to pay for an escape route, could be motivated to pursue her calling after all. And deep in the forest there’s a woodsman named Klaus (J.K. Simmons), a surly giant with a workshop full of new toys. His tender heart lies just beneath a surface grumpiness that’s as thin as the material on a lottery scratch-off card. So it’s relatively easy for Jesper to convince the fellow to give him the toys to deliver, postage paid, to the kids of the island.

From there, “Klaus” concocts original ways to tick off practically all the boxes of a Santa origin story: How the means of transport became a sled. How reindeer got involved. Why the sled flies. How the chimney came to be used.

It all moves along so amiably, and offers such consistently delightful visuals, that the conventional plot points, up to and including an inevitable “but I can explain” bit, are entirely digestible. These clichés inhibit “Klaus” from achieving instant-classic status, but the film is winning enough that it’s worth a place in a family Christmas-movie library (not that, as a Netflix offering, it will take up any physical space).

Rated PG . Running time: 1 hour 37 minutes.

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Common sense media reviewers.

Santa origin story is a sweet reminder of generosity.

A Lot or a Little?

What you will—and won't—find in this movie.

Primarily intended to educate rather than entertai

Promotes moving past old grudges, not being afraid

Jesper starts off as a "spoiled brat" but ends up

The citizens of Smeerensburg are involved in a gen

Jesper and Alva flirt and eventually kiss and beco

"Shut up, you idiot." Someone says "Go home, loser

Educational Value

Primarily intended to educate rather than entertain, but kids may learn about the Scandinavian indigenous group the Sámi people.

Positive Messages

Promotes moving past old grudges, not being afraid of new friendships, not judging others because of what their parents/grandparents did or felt. Also celebrates joy of children who want to have friends and to play, acknowledges sadness of adults who want children but don't have them. Themes include communication, compassion, teamwork.

Positive Role Models

Jesper starts off as a "spoiled brat" but ends up a kind, generous man who appreciates the kids of Smeerensburg and his friendship with Klaus. Alva is a clever, persevering woman who rededicates herself to teaching. Klaus is a selfless man/toymaker who wants to bring joy to the children of Smeerensburg. A Sámi girl and her indigenous tribe help Klaus and Jesper. Their speech is subtitled, and they dress in traditional Sámi clothes.

Violence & Scariness

The citizens of Smeerensburg are involved in a generations-old feud between two families/factions. The people come out ready to fight with weapons at the sound of the war bell. The two families lay traps for each other, spend lots of time trying to come up with ways to terrorize the other side. The two families chase Klaus and Jesper, who nearly plunge to their deaths. The town square has a noose and a battle bell.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Jesper and Alva flirt and eventually kiss and become a couple. Two members from feuding families fall in love and marry. The bride carries the groom and calls him "mine."

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

"Shut up, you idiot." Someone says "Go home, loser!" to Jesper. "Brat." "Holy moly," "holy mother." "What the ... ?" Klaus yells "Get out!"

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Parents Need to Know

Parents need to know that Klaus is an animated holiday comedy about a possible origin story for Santa. The movie takes place in the fictional island village of Smeerensburg, where spoiled young postman Jesper (voiced by Jason Schwartzman ) strikes up an unlikely friendship with a local carpenter/toymaker named Klaus ( J.K. Simmons ). The whole town is involved in a generations-old feud between two families/factions that leads to lots of resentment and treating fellow villagers as "the enemy." Expect lots of sight gags, plenty of physical comedy, and some peril, as well as some mob scenes of village folk armed and ready to fight. There's some romance (flirting, kissing, and marriage); language includes mild insults like "loser," "brat," and "idiot," as well as "what the ... ?" A few characters speak in the Sámi language -- their lines are subtitled. The story promotes moving past old grudges and celebrates the joy of children who want to have friends and to play. Parents and kids will be able to discuss the importance of generosity, compassion, and teamwork in the movie. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Community Reviews

Parents say (50)
Kids say (30)

Based on 50 parent reviews

Too violent and scary- turned off in the first 15 minutes

Great for grown-ups, but not 6+, what's the story.

KLAUS follows Jesper (voiced by Jason Schwartzman ), a privileged young Postal Academy employee whose strict father, the Postmaster General, punishes him with the most remote assignment possible: Smeerensburg, an island above the Arctic Circle. Jesper can't return to his pampered life at home until he processes 6,000 pieces of mail in one year. But upon arriving in Smeerensburg, it becomes clear that the citizens aren't inclined to send correspondence: The town is built on resentment and recrimination, and the founding families are engaged in a War of the Roses-style feud. Even the town's one teacher, Alva ( Rashida Jones ), has turned into a fishmonger because the warring factions don't send their kids to school to sit next to the enemy. After Jesper accidentally delivers a child's letter to village hermit Klaus ( J.K. Simmons ), a carpenter and toymaker, Klaus asks Jesper to deliver a toy back to the child. This gives Jesper a brilliant idea: Every kid who writes Klaus a letter should get a toy in response; that way, all the eager kids' letters will eventually add up to his father's quota.

Is It Any Good?

This holiday movie with roots in friendship, bridge-building, and the dying art of letter writing is sure to entertain and amuse thanks to its impressive animation and expressive voice cast. Klaus 's take on the Santa origin story is unique and a little loopy, but as Jesper and Klaus collaborate to bring toys to the children of Smeerensburg, the movie manages to explain all of the key points of the Santa legend (the reindeer, the sled, the chimney, the big bag of toys, even the bright red outfit). The snowy landscapes are gorgeously animated -- swirling shades of white, blue, brown, and red -- while the characters are crisp and expressive. On one side, there's the perpetually scowling matriarch of the Krum family ( Joan Cusack ), and on the other, there's the adorable Sámi girl who ends up enlisting her entire tribe to assist Jesper and Klaus in his workshop.

The initial premise -- that Jesper just wants the kids' postage-paid letters and the return toys delivered so that he can get out of Smeerensburg -- isn't nearly as important as the ensuing friendships between both Jesper and Klaus and Jesper and Alva, who's finally able to go back to teaching once the kids realize they need to learn to write to send Klaus letters. Jesper's character development is crucial in recognizing the story's holiday spirit. Giving to the kids isn't a means to an end at all. The giving is what brings meaning to Klaus, to him, and eventually to the entire town. Sweeter and more thoughtful than it needed to be, this is a fine holiday pick for the family.

Talk to Your Kids About ...

Families can talk about the violence in Klaus . How much scary stuff can young kids handle?

What do you think of this origin story for Santa Claus? What's unique about it? How does it compare to other Santa-based movies?

How do the characters display teamwork and compassion ? How does the mail facilitate good communication ? Why are those important character strengths ?

Movie Details

In theaters : November 8, 2019
On DVD or streaming : November 15, 2019
Cast : Jason Schwartzman , J.K. Simmons , Rashida Jones
Director : Sergio Pablos
Inclusion Information : Female actors, Black actors
Studio : Netflix
Genre : Family and Kids
Topics : Magic and Fantasy , Friendship , Holidays
Character Strengths : Communication , Compassion , Teamwork
Run time : 98 minutes
MPAA rating : PG
MPAA explanation : rude humor and mild action
Awards : BAFTA , Common Sense Selection
Last updated : February 18, 2023

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‘Klaus’ Review: Netflix’s First Original Animated Feature Is a Gorgeous but Contrived Santa Origin Story

David ehrlich.

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It’s ironic that Netflix ’s first original animated feature is a throwback to the glory days of Disney’s hand-drawn masterpieces, but the streaming giant has a knack for making the kinds of movies that other studios have deemed obsolete. And if nothing else, Sergio Pablos’ “ Klaus ” is a convincing argument that we shouldn’t let the old ways die (which is not a terribly difficult case to make considering that even the best CGI animation still has all the soul of an algorithm).

Of course, Pablos might be trying to atone for his own sins, as the Spanish filmmaker — who spent the ’90s working on more classical projects like “A Goofy Movie” and “The Hunchback of Notre Dame” — eventually left the Mouse House to create the “Despicable Me” franchise, an eyesore so influential that it’s grown into a sty on the cinema itself.

But “Klaus” is so beautiful that even the grinchiest critics of digital animation will feel moved to forgive Pablos for his (incredibly lucrative) missteps. A labor of love that’s poised to show a new generation of young kids just how magical the movies can be, this lush Christmas tale unfolds with the timeless warmth and detail of a hardcover storybook; smoothed out character designs and volumetric lighting coat the image with a modern gloss, but not in a way that should carbon date it to the current moment. It’s a shame, then, that the film isn’t half as nice to watch as it is to look at.

“Klaus” is a ridiculously convoluted Santa Claus origin story that reverse-engineers the Christmas spirit in such a bizarre way that it’s hard to care about any of its characters (or even understand what some of them are doing). It shows you what happens when you put the sleigh before the reindeer. This strange tale begins in a fictional Scandanavian country, where a spoiled brat named Jesper (voiced by Jason Schwartzman ) is enjoying his privileged existence as the son of the man who runs the Royal Mail Academy. But Jesper’s life of luxury comes to a sudden end when daddy announces that it’s time for his large adult son to work for a living, and banishes the boy to the miserable island of Smeerensburg near the Arctic Circle. If Jesper can deliver 6,000 letters that year, he’ll be allowed to return home; if not, he’ll be cut off forever.

It feels like a rather generous offer. From the start, Jesper is considerably more annoying than Pablos and his fellow writers Zach Lewis and Jim Mahoney seem to realize. The character is cut from the same pampered cloth as Kuzco from “The Emperor’s New Groove,” but he’s very hard to stomach without the serrated wit that made everything about that movie feel sharp to the touch. “Klaus,” by contrast, doesn’t boast so much as a single memorable barb — this despite that Jesper almost never stops talking (Schwartzman gives the kid plenty of room to grow, but you’ll be sick of him long before he sweetens up). The humor is strained and the laughs sporadic, though Norm Macdonald brings a welcome edge as the salty boatman who ferries Jesper to his new home, and some of the comic violence that we encounter in Smeerensburg should be enough to elicit a few giggles from the younger crowd.

In a film so driven by its visuals, it’s fitting how the funniest thing here might be the character designs. Jesper is a silly twig of a man; his spindly legs, exaggerated hands, and bulbous red nose make him look like the love child of a ballet dancer and a homunculus. The townspeople of Smeerensburg — an oafish lot of pitchfork-wielding hicks who’ve been at war with each other for so long that it’s become a tradition unto itself — are inbred, jowly, and often giant kind of Greek chorus. They’re barely fleshed out enough to serve their narrative purpose (leaving Joan Cusack and Will Sasso to shoulder way too much of the story as the leaders of the local clans), but they cast an amusing shadow.

And then there’s Klaus (an endearingly wounded J.K. Simmons ), the sullen woodcutter who lives on the edge of town. The sequence of events that leads Jesper to his door is as sweaty as the plotting gets in this kind of stuff, but the big idea finally comes into focus when a “Beauty and the Beast”-like encounter between the two characters leads Jesper to hatch his master plan: He’ll convince the children of Smeerensburg to write letters(!) to Klaus that explain how good they’ve been, and in return the carver will send the children some of the old toys that are collecting dust in his workshop. From there, the story is basically “Shakespeare in Love” for Santa Claus, as every wrinkle in Jesper’s scheme (e.g. Klaus will transport the toys in his sleigh, mean kids won’t get any, etc.) becomes a formative part of the Christmas myth.

But Klaus isn’t the jolly Kris Kringle you might expect — he’s closer to Grendel. Not only does his epic gray beard mask a dark and gritty take on the character (just what kids have always wanted to see: Santa as an embittered widower), but his strapping physique also makes him look like a member of the Justice League. There’s really no other way to say it: This Santa is thicc as hell. The guy looks like his grieving process has involved a lot of steroids, and by the time we meet him it’s clear that his pecs are absolutely swole with unspent selflessness. Jesper and Klaus are natural foils for one another, and the best scenes between them have a sense of purpose that’s missing from the rest of the film. But the depth of Klaus’ heartache is a bit jarring when it’s explained at the end, although that has less to do with the details themselves than it does how clumsily arranged this story feels from the second it gets to Smeerensburg.

Despite the nourishing consistency of the film’s design — the musty atmosphere of the school house where Jesper’s throwaway love interest ( Rashida Jones ) works, the collage-like backgrounds that look jagged and full of life, the depth of expression in the eyes of every Smeerensburg child — the rest of “Klaus” is all over the map. Ill-fitting pop songs (one emulating “Frozen,” the other “The Grinch”) undermine the timeless aesthetic at key moments, while Jesper’s character arc feels so far removed from the Santa Claus of it all that the whole movie grinds to a halt whenever Pablos and co. try to knot them together.

Other than its pitiable namesake and an adorable young Sámi girl whose inability to speak English helps the film tap into something more elemental about the value of goodwill, none of the characters in “Klaus” are as delightful as they are well-drawn, and Pablos’ film never earns the holiday spirit it tries to manufacture down the home stretch. But there’s no denying that the future of “traditional” animation looks a little brighter than it did yesterday, and that’s reason enough to celebrate.

“Klaus” is now streaming on Netflix.

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‘klaus’: film review.

Spanish animator Sergio Pablos imagines an origin story for Saint Nick in the Netflix animated film 'Klaus.'

By John DeFore

John DeFore

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A family holiday film that should sit especially well with members of the family who feel they could probably do without another holiday film, Sergio Pablos’ Klaus invents its own unexpected and very enjoyable origin story for the big guy who gives out toys every Christmas eve. Shaking off most Yuletide cliches in favor of a from-scratch story about how even dubiously motivated generosity can lead to joy, it contains echoes of other seasonal favorites (especially, in a topsy-turvy way, Dr. Seuss’ Grinch) while standing completely on its own. The beautifully designed ‘toon comes at a good time for distributor Netflix, just as the Disney empire starts to move all its animated creations into its own exclusive realm: Saying goodbye to kiddie classics won’t hurt quite as much if Netflix can find and support animation talent of this caliber.

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Klaus Reviews

A beautiful animation with a unique spin on the origin of many of our beloved Christmas traditions.

Full Review | Jan 11, 2024

The acts of kindness that [Klaus] talks about are just as important as everything else. I’ll surely make it a tradition to watch this film on Christmas Day.

Full Review | Original Score: 10/10 | Jan 22, 2023

It has a splendid animation that serves as a background to rewrite the myth of Santa Claus with some nice characters that reach their most emotional point in their Christmas portrait of kindness and the value of selfless acts. [Full review in Spanish]

Full Review | Original Score: 7/10 | Dec 24, 2022

We've seen these stories a million times, but there's something about Klaus' animation that makes it very special and unique, add it to its genre-bending story and you get a precious Christmas film. [Full review in Spanish]

Full Review | Original Score: 8/10 | Oct 21, 2022

Klaus might be one of the best and most unexpected holiday films that I have seen in years. This will satisfy the creepy and the jolly in your life with a beautiful story, strange visuals, hopeful moments, plenty of laughs and a few tears.

Full Review | Sep 15, 2022

The designs of the characters and this world feel so intricate and special, and it’s incredibly easy to get lost in the artistry on display.

Full Review | Original Score: 7/10 | Jun 4, 2022

Relying on known motifs with a twist for various montages and scenes, Klaus allows the audience to be in on the joke keeping older audiences engaged while children delight in a story of one of the world’s most famous legends.

Full Review | Apr 28, 2022

Klaus is a perfectly fine holiday animated movie, but it never is able to reach above that.

Full Review | Feb 12, 2022

It's breathtakingly animated and features a heck of a call for kindness in a world where it's in short supply.

Full Review | Feb 11, 2022

Earns a spot not just as a holiday must-see, but as a landmark moment for animation.

Full Review | Original Score: 4 / 5 | Jun 25, 2021

A great holiday tale for the whole family.

Full Review | Jun 16, 2021

Helps us understand the meaning of Santa Claus in our lives, beyond the commercial and consumerist atmosphere. [Full review in Spanish]

Full Review | Apr 26, 2021

An engaging re-imagining of the Santa Claus origin mythos is handled beautifully.

Full Review | Original Score: 3.5/4 | Dec 16, 2020

Bold and creative, Klaus should be highlighted for its artistic achievement. [Full review in Spanish]

Full Review | Jul 8, 2020

Klaus is a bundle of good-natured fun, and anyone who says otherwise deserves a piece of coal in their stocking.

Full Review | Original Score: B+ | Jul 8, 2020

There is warmth in the wintry village and compassion amidst grudging communities.

Full Review | May 26, 2020

A heartwarming take on the Christmas origin story. You will alternate between laughing and being moved by the film.

Full Review | Original Score: 4/5 | May 15, 2020

Klaus has a simple message we would all do well to remember: "A true selfless act always sparks another."

Full Review | Original Score: 3.5/5 | Mar 24, 2020

Klaus is the surprise of this awards season. [Full review in Spanish]

Full Review | Feb 10, 2020

Beyond the approachable storytelling, fun cast, and revisionist mythology, however, lies the stunning craftsmanship of the animation itself.

Full Review | Original Score: 8/10 | Feb 4, 2020

‘Klaus’: Film Review

Sergio Pablos invents an unnecessarily complicated origin story for the beloved Christmas legend in Netflix's first foray into animation.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Have you ever wondered how it all began, the arrangement by which a jolly old toymaker based somewhere near the North Pole makes the rounds each Christmas to bring presents to all the good little boys and girls? Personally, I remember having plenty of questions for my parents about Santa, but somehow never thought to ask the most basic one: “Why does he do it?” Maybe that’s because I sensed the instant you start to peer into Santa’s origin story, the whole thing begins to unravel — at least, that’s what happens when Sergio Pablos tries to reverse-engineer the meaning of Christmas with “ Klaus ,” by focusing, of all things, on a scheme to save snail mail.

Now, you should know something crucial about “Klaus” going in: There’s only one way to see it, and that’s from Netflix, which commissioned the feature-length cartoon from former Disney talent Pablos (perhaps best known as the mind behind Illumination’s “Despicable Me”) and his Spain-based animation studio. It’s just one of half a dozen Christmas-themed original features debuting on the service this fall, but in many ways, it’s the most interesting, considering “Klaus” has the distinction of being Netflix’s first original animated feature — and not just a low-budget computer-rendered quickie, but a stylish return to hand-drawn animation with a look all its own.

From Netflix’s side of the equation, think of the yuletide hook as a kind of insurance policy on this particular gamble, since making an instant Christmas classic — the kind audiences would want to revisit every year, the way they do Rankin/Bass’ “Rudolph the Red-Nosed Reindeer” and CBS’ “A Charlie Brown Christmas” special — and locking it up behind a subscription service seems like a smart long-game strategy for the streamer. There’s just one problem: “Klaus” isn’t an instant Christmas classic. Like DreamWorks’ obnoxious all-purpose holiday misfire “Rise of the Guardians,” it’s more of a serviceable Christmas-themed distraction to keep the kids out of their parents’ hair for about two hours while the grown-ups wrap the presents.

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Klaus isn’t even the main character of “Klaus.” That would be a feckless brat named Jesper, the hard-to-like son of the Rockefeller-like titan behind the international postal service, or some such. You can — and many will — supply other rich-daddy types as possible inspirations for the character, though the point here is that the espresso-sipping, work-shirking Jesper (voiced by Jason Schwartzman, an actor who for whom sounding grating is kind of a specialty) needs to be taught a lesson. Ergo, Dad gives Jesper a one-way ticket to Smeerenburg, the most remote post office on the map, where the slacker’s expected to convince the locals to send 60,000 letters, or else he might as well stay gone.

Personality-wise, Jesper may not be the most fun to be around, but as designed by Torsten Schrank, he’s an appealing-looking character: scarecrow thin, with long, gangly arms and legs, googly eyes and a goofy grin. His bulbous pink nose looks like it would make a honking sound when pinched, and his awkward ears stick out from either side of his narrow head (and glow when backlit by the sun). Another voice would have likely changed his personality for the better, although it’s the writing that’s really at fault here. Collaborating with Pablos, unproven duo Zach Lewis and Jim Mahoney have cooked up the equivalent of a con-man movie, in which Jesper invents an elaborate holiday tradition as an excuse to go home, only to learn that he likes it in Smeerenburg after all.

Compared with Klaus, who becomes the unwitting patsy in his plan, Jesper is a spindly toothpick of a guy, whereas the bearded fella looks like some kind of colossus standing beside him, with a deep-bass voice to match (a wonderful use of J.K. Simmons). Klaus isn’t nearly as friendly as legend has it. He’s actually more of a hermit, a former woodsman sealed away in his cabin at the top of the mountain. Through a twist never properly explained, Jesper discovers that if he can convince the kids to write letters to Klaus, the old loner will reward them with toys, and thus Jesper can hit his postal quota (that’s right: by conning Klaus into making 60,000 toys, one for each letter received).

This is where all the revisionist Christmas mythology comes in, amid a series of amusing montages in which Jesper assists Klaus in delivering the packages to the children of Smeerenburg. He also enlists the not-quite-organic involvement of several supporting characters, including local teacher Alva (Rashida Jones), who’s given up on her calling and instead started using the schoolhouse as a makeshift fish market, and surly ferry captain Mogens (Norm Macdonald), who drops Jesper on the island without mentioning the most important thing.

Turns out Smeerenburg is the feuding capital of the world, where the adults wage daily battles with one another (Joan Cusack and Will Sasso play the bitter heads of rival clans) and raise their kids to be spiteful, unhappy haters. Their pranks make for entertaining visual gags, at least, but Jesper has his work cut out for him: For his new mail system to work, he must first teach the youngsters to have fun, and he invents additional conditions as his gift plan gathers steam — like the whole naughty-versus-nice thing.

Frankly, it all seems much too complicated for what it is. And instead of making audiences love Christmas more, it raises the rather unfortunate question of why we believed it in the first place. Yes, we’ve all accepted that Christmas as celebrated was some elaborate conspiracy to brainwash children, but there’s something decidedly un-charming about depicting it as such, even with all the whimsical flourishes Pablos and company have festooned upon it. What goodwill the movie does inspire owes more to the splendid visual world than to anything the story supplies. But this much can be said for Netflix’s decision to back a hand-drawn feature: For those who return to “Klaus” in Christmases to come, the aesthetic ought to hold up far better than its CG competitors, which tend to date themselves far more quickly.

Reviewed at Wilshire Screening Room, Oct. 23, 2019. Running time: 97 MIN.

Production: (Animated – Spain) A Netflix release and presentation of a SPA Studios, Atresmedia Cine production. Producers: Jinko Gotoh, Sergio Pablos, Marisa Román, Matthew Teevan, Mercedes Gamero, Mikel Lejarza, Gustavo Ferrada.
Crew: Director: Sergio Pablos. Co-director: Carlos Martínez López. Screenplay: Pablos, Zach Lewis, Jim Mahoney; story: Pablos. Editor: Pablo García Revert. Music: Alfonso G. Aguilar.
With: Jason Schwartzman, J.K. Simmons, Rashida Jones , Will Sasso, Neda M. Ladda, Sergio Pablos, Norm Macdonald, Joan Cusack.

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'Klaus' is one of the best animated movies of the year and a stunning revival of 2D animation

Warning: There are mild spoilers ahead for " Klaus ."
Netflix is releasing its first full-length original animated movie about the origins of Santa on Friday, November 15.
It's one of the year's best animated films for its sweet story of friendship and self-discovery and its push to revitalize 2D animation for a younger generation.
Jason Schwartzman's postman Jesper will give you vibes of Emperor Kuzco from "The Emperor's New Groove."
Visit Insider's homepage for more stories.

I went into " Klaus " wondering why we needed an animated holiday movie about the origin of Santa Claus. By the time the 98-minute movie concluded, I found myself sobbing and couldn't stop.

That probably won't be everyone's reaction to Netflix's first foray into full-length animated features, but it goes without saying that "Klaus" is something special and a testament to director Sergio Pablos' storytelling ability.

The film follows Jesper, a spoiled postman (Jason Schwartzman) who's given an ultimatum: start a post office in the Arctic Circle or be cut off from the family's fortune. As he's about to throw in the towel, Jesper befriends a reclusive toyman Klaus (J.K. Simmons). The unexpected friendship inadvertently helps transform a broken village ravaged by years of internal fighting while starting to thaw Jesper's own selfish outlook on life.

For anyone who misses the heyday of 2D animation, Pablos and the crew at his animation studio revitalize the medium for a younger generation while delivering an endearing story with "The Emperor's New Groove" vibes.

Why you should care: 'Klaus' is the passion project of 'Despicable Me' cocreator, Sergio Pablos, with the heart of a traditional animated film.

You may not recognize Pablos by name, but you know the projects he has worked on: "The Hunchback of Notre Dame," and "Tarzan," for example.

The former Disney animator, who created the "Despicable Me" franchise, tried getting 2D animated "Klaus" made on and off for about 10 years . After getting passed over by big studios, Netflix acquired the global rights to the film in 2017.

The film combines newer tech to deliver a film that brings traditional 2D animation into the 21st century by making "Klaus" feel both nostalgic and fresh at the same time. Jason Schwartzman, J.K. Simmons, Rashida Jones, and Joan Cusack lend their voices in this one.

What's hot: The animation, a story that will tug at your heartstrings, and Schwartzman's performance as the selfish and spoiled son of postman royalty.

If you're a big fan of traditional animation, you may find yourself marveling over the look of the film from the start. Working with 250 animators, "Klaus" uses lighting tools to give an added depth to the 2D characters seen on screen.

Because of that, you may be wondering what is hand-drawn versus CGI in "Klaus." A scene in the film's first half hour with icicles looks like it has to be made on a computer. Pablos told me it was all hand-painted . It's that meticulousness that will make those who grew up loving hand-drawn animated films appreciate what they're seeing on screen as it's transformed and put on display for a younger generation.

What's not: Not much. Honestly, Netflix could be marketing this a bit better.

The only thing that disappointed me after watching "Klaus" was viewing the trailer for the film afterwards . Until I watched it, I really didn't know much about the film other than it being a Santa origin story.

It's much more than that and it doesn't come through on Netflix's trailer for the film. The big booming sound of Panic! at the Disco's " High Hopes " is a bit jarring from the overall tone of the movie, something commenters have pointed out on YouTube as well.

Give us a trailer centered around Jesper's perspective told from a meta fourth-wall breaking method.

Pablos told me "Batman Begins" was a source of early inspiration for his vision, playfully giving the film an alternate title, "Santa Begins." Give people a trailer for the film cut like that.

The bottom line: Gather the family together and watch this.

Funny, sweet, and beautiful to watch, "Klaus" has the makings of a holiday classic. It's a story about finding your place in the world, while reminding us to embrace our differences and be a bit nicer to those around us.

Make sure to have a few tissues nearby.

"Klaus" will be available in select theaters on Friday before its Netflix release on November 15. Watch a trailer for it below.

Disclosure: Mathias Döpfner, CEO of Business Insider's parent company, Axel Springer, is a Netflix board member.

Follow INSIDER on Facebook .

Watch: How Netflix's Oscar-nominated 'Klaus' made 2D animation look 3D

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Shot by Sergio Pablos, a weathered animation film creator, here's a future holiday classic to be reckoned with. Klaus is a beautifully old-school-looking, 90s Disney-style animation movie about the origin story of the world's most beloved toymaker, Santa Klaus. Dispatched to a bleak arctic town, because he really wasn't very good at his job at all, mailman Jesper stumbles upon the now-famous Klaus, making an acquaintance that will change the town forever, and, with it, the way Christmas is celebrated around the world. In addition to its homely warmth, funny moments, and nostalgic hand-drawn animation style, you will recognize many famous voice-overs in this festive family film, including the always amazing J.K. Simmons, Rashida Jones, and Jason Schwartzman, to name a few.

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DVD & Streaming
Action/Adventure , Animation , Kids

Content Caution

In Theaters

November 8, 2019
Voices of Joan Cusack as Mrs. Krum; Rashida Jones as Alva; J.K. Simmons as Klaus; Jason Schwartzman as Jesper; Will Sasso as Mr. Ellingboe; Norm MacDonald as Mogens; Sergio Pablos as Pumpkin/Olaf

Home Release Date

Sergio Pablos

Distributor

Movie review.

Jesper has only ever known the posh life. As the son of the director of the Royal Postal Academy, Jesper prefers to spend his days ordering room service and sleeping on silk sheets. Which would explain why he’s just failed out of his dad’s rigid school, again!

But the good ol’ days come to an abrupt end when Jesper’s father ships him off to a violent, eerie, dilapidated village in the north called Smeerensburg. His assignment? Create a functional postal service in that town, or be cut off from the family fortune forever.

No problem , Jesper thinks at first. But when he arrives in Smeerensburg he soon realizes that the people can’t be reasoned with; in fact, they don’t care about sending or receiving letters at all because they hate one another!

But not everyone in Smeerensburg is so embittered. One day, a little boy gives Jesper a picture of what he hopes for: happiness and joy. Jesper, unsure of what to do with the letter, takes it with him to a woodsman’s house, far out in the country, in one last vain attempt at getting someone to write something.

But when Jesper sees the Woodsman known as Klaus, he’s terrified by his giant stature. In a panic, he flees back to town, dropping the picture and leaving it to be discovered by Klaus, a lonely toy maker who has forgotten his passion and his need for human connection.

Stirred by the little boy’s drawing, Klaus finds Jesper and forces him to deliver a toy to the young lad. And what starts as one gift, turns into an act of selflessness that changes Jesper, Klaus and the entire town of Smeerensburg forever.

Positive Elements

Jesper doesn’t always have the right motivation, but he learns over time how to work hard, how to understand those around him and how to selflessly love others. This all begins thanks to Jesper’s dad, who forces him out of a life of privilege and prosperity into a rough town where he hopes Jesper will learn the importance of responsibility.

Once, Jesper tells a naughty, mean boy that Klaus sees everything and that if his behavior doesn’t improve, he won’t receive any gifts like the other children. When the boy and other children hear this, they begin doling out acts of service to help one another and to receive gifts. And what starts as an act of self-service turns into a series of selfless acts of kindness that change the nature of Smeerensburg forever.

Jesper convinces Klaus to continue making toys for children and, in turn, Klaus teaches Jesper the importance of a kind act. Klaus, for his part, wakes from his depressed stupor and begins to see the joy and happiness in life. He works diligently to provide toys for kids, as does Jesper; eventually other people begin to help them make and deliver toys as well.

Klaus tells Jesper that “a true act of goodwill always sparks another.” This truism is played out throughout the entirety of the film as children begin to love one another and to help those around them. Once their parents see their acts of love and service, the hatred and prejudices in their hearts begin to melt away, and the town is unified and revitalized.

Another character named Alva starts out as an angry, embittered former teacher. But as her story unfolds, her passion for teaching is rekindled and she begins a school for the village children. Alva spends her own personal savings to buy the kids school supplies and to turn her school into a loving environment for her students.

All in all, characters in the film learn to value what they have, to love those around them, to work together and to cherish the present.

Spiritual Elements

Klaus is led to certain areas around his house and around the town by a magical wind. Later, he says that it’s as if his wife’s spirit is the magical wind that leads him to acts of kindness. [ Spoiler Warning ] In the end, Klaus “disappears” forever as he follows the magical wind into the light.

Klaus and Jesper’s sleigh gets tossed into the air when they make a wrong turn. A young boy sees the “flying sleigh” and assumes it’s magic, telling all the village children that Klaus is magical.

Sexual Content

Klaus tells the story of how he and his wife wanted lots of children but were never able to conceive. Jesper eventually gets married and has two children. He and his wife snuggle, and she kisses him on the cheek. A captain makes a joke about young love. Alva lovingly kisses Klaus on the cheek.

An angry neighbor pushes a man out of his house while bathing (with his privates covered with bubbles). A row of naked toy bottoms stick out of a wall in remembrance of a time when people “mooned” one another.

Violent Content

Smeerensburg has been the center for generational feuds for, well, generations. The Ellingboe family hates the Krum family, and vice versa. When a town leader wants some violent action, all he has to do is ring a central bell, and villagers from both sides come out to beat one another with axes, guns, hammers, spears and whatever else they can get their hands on. This happens a few times during the film, and though no blood is shed, it’s still fairly violent.

Some villagers look evil and eerie at the film’s start (although this changes as their hearts soften). Two villagers carry a sack into a dark home. (The sack looks like as if holding a dead body, but that’s never made clear.) Villagers yell and scream at one another. Village elders show two kids pictures of the historical evidence that supports the violent feud between the Ellingboes and the Krums.

Jesper is scared of Klaus at first and makes some grim jokes about being chopped up and scattered in the woods. We also hear quips about severed heads, ransom notes and axe murderers.

At the start of the film, Alva works as a fishmonger of sorts. Dead fish hang from every corner of her home; she slices and beheads a few fish (which we see). Klaus tells Jesper that his wife died years ago from an unknown illness. A man breaks a glass in frustration.

Crude or Profane Language

God’s name is misused once. A young kid calls Jesper a “loser” multiple times, and Jesper retaliates by calling him a “brat.” Jesper says, “Man, I hate you” to a boat captain. We hear the word “idiot” and the phrase “shut up” once each.

Drug and Alcohol Content

Jesper jokes about drinking a glass of sherry and tells a joke about “a man who walked into a bar.” A boat captain drinks a mug of what looks to be beer.

Other Negative Elements

The people of Smeerensburg are divided into two clans: The Ellingboes and the Krums. These two families have been sworn enemies for centuries, and town leaders believe it’s their job to carry down the “centuries of hatred,” grudges and mistrust (they continue to do this throughout the entire film). Because of this, the town is literally divided in half. Ellingboe children aren’t allowed to play with Krum children, and vice versa. The parents even keep their kids from going to school together (at first) as they prefer the segregation.

Jesper says that “all children are liars.” He makes a joke about Klaus having a mental illness. A man tells Jesper he’s never seen someone soil his pants and whimper around a love interest. Jesper burns his rear on hot coals.

It’s easy to think that the world is a terrible place that’s only getting worse, especially if we’re always checking the news. But the truth is, one tiny act of love and kindness can influence an entire town—and it only takes one person to ignite change.

This Netflix original starts off with an eerie backdrop and a protagonist you don’t want to root for. But by the end, you’re drawn into the story of how “Santa Claus” came to be. The story suggests that Santa didn’t start out as some magical being floating through the air. Rather, he was a normal man who brought joy and happiness to children across the world with a desire for change and the help of friends.

Yes, there are some truly eerie characters here, as well as rude humor, references to alcohol, mean names and a surprising amount of animated brutality. But these things are used to illustrate a stark contrast, highlighting the importance of kindness and the power of selflessness.

This may not be a movie you want your littles to see, as it can be pretty creepy at times. But with some navigation, it is a movie with the potential to spark some positive conversations.

Kristin Smith

Kristin Smith joined the Plugged In team in 2017. Formerly a Spanish and English teacher, Kristin loves reading literature and eating authentic Mexican tacos. She and her husband, Eddy, love raising their children Judah and Selah. Kristin also has a deep affection for coffee, music, her dog (Cali) and cat (Aslan).

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Movie Review – Klaus (2019)

November 15, 2019 by Kate Harrold

Klaus , 2019.

Directed by Sergio Pablos. Starring Jason Schwartzman, J. K. Simmons, Rashida Jones, Joan Cusack, Will Sasso, and Norm Macdonald.

When Jesper is deemed to be the postal academy’s worst employee, he’s sent to work in the abandoned post office on the mysterious and eerie, island-nation of Smeerensburg. Here, he meets the reclusive Klaus – a toy-maker living deep in the forest. Together, the two attempt to bring joy and change to the bitter residents of Smeerensburg.

On the whole, Christmas films can be predictable, but that’s no surprise as they tend to stick to the same traditions we ourselves stick to every year. Klaus breaks the mould, providing an alternative ‘Santa Claus’ origin story – except here, he’s just called Klaus (J. K. Simmons). Klaus expertly blends dark, morbid humour with wondrous festive cheer – an unusual but greatly successful feature of Zach Lewis and Jim Mahoney’s script – making Klaus a film perfectly suited for the entire family. Director, Sergio Pablos, helms this jubilant piece of festive animation that touches on universal themes of kindness and togetherness without ever becoming clichéd. This might be Netflix’s first full-length animated feature, but Klaus puts up strong competition to all of the major animation studios.

It’s not until 70 minutes into Klaus ‘ runtime that the word ‘Christmas’ is even uttered – it simply doesn’t exist in Smeerensburg – but this is one of the film’s greatest strengths. Klaus feels distinctively festive despite the fact that lights, garlands and Christmas carols only make an appearance near the end of the film. Klaus takes the thematic elements of Christmas – spreading joy, bringing people together – and crafts them into Jesper’s (Jason Schwartzman) journey of self-discovery. The absence of Christmas’ material traditions helps Klaus stand out from other film’s in this genre. The town of Smeerensburg is quite the opposite of festive. It’s a town split into two constantly fighting factions. Having fun is a wrongdoing – and children are brought before councils for committing this sin. It provides for some dark, morbid humour that works so well. Klaus certainly isn’t as dark as Tim Burton’s The Nightmare Before Christmas but you can’t deny the two films share a strand of DNA. When Jesper first sees the physically imposing Klaus, he shouts in terror, “Don’t chop me up and scatter my parts in the woods” – an unexpected joke in a Christmas film but one that seems so at home in Klaus .

Smeerensburg may be home to some aggressive residents, but its style is fairly quant. It’s very reminiscent of Hogsmeade from the Harry Potter films but thanks to Klaus ‘ unique animation style, the film manages to craft its own distinct aesthetic. Klaus doesn’t quite use 2D hand-drawn animation, but it doesn’t use contemporary CG animation either. It bridges the gap between the two which only furthers the film’s aesthetic appeal. The establishing shots of Smeerensburg demonstrate this best. The CG elements of the animation style help provide such depth whilst the 2D animation style provides a rustic, nostalgic charm. Pablos did work on several 90s Disney titles including Tarzan , The Hunchback of Notre Dame , and Hercules – and you can very much see how this passion for 2D animation informed Klaus ‘ visual style. Another welcomed detail was the slow transformation of Klaus ‘ colour tones. Jesper and Klaus’ warm, gold glow slowly spreads throughout the cold, blue landscape of Smeerensburg as the town gradually begins to change its ways.

Klaus could benefit from a slightly shorter second act. The story itself is wholly engaging but the change in pace between act two and three feels a little off balance. This is a minor fault and hardly detracts from what is a wonderful, festive tale. For a film that firmly establishes itself as a comedy, it’s quite surprising how poignant of an ending Klaus has. The ending is tonally very different from the rest of the film yet the transition into this feels so natural. It’s a testament to Klaus ‘ great script that despite being a comedy, it can still create touching moments.

Klaus is a huge success for Netflix – bringing uniqueness to a genre that is founded on tradition. It is the perfect film to take audiences into the festive months. Klaus holds the power to reignite everybody’s Christmas spirit this year – and there’s no doubt that’s exactly what it will do.

Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★

Kate Harrold

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Directors: Sergio Pablos, Carlos Martínez López (co-director)

Writers: Sergio Pablos, Jim Mahoney, Zach Lewis

Composer: Alfonso G. Aguilar

Starring: Jason Schwartzman, J. K. Simmons, Rashida Jones, Will Sasso, Neda Margrethe Labba, Sergio Pablos, Norm MacDonald, Joan Cusack

Genre: Christmas, Comedy, Animation, Adventure

Let’s just say that Christmas came a little early for me this year.

After so many CGI animated affairs this year ranging from middling to disappointing in quality, I was mired for most of the time in a haze, yearning for a return to form for all involved. Animation as an art form has become rote. Everyone is just repeating themselves, and very little if any innovation or even anything unconventional was to be found anywhere. It seems that many of the folks now coming out of art school and getting into the industry have reverted to the heresy of treating animation as a “genre”, rather than an art form capable of telling any kind of story it wishes. It’s like seeing people with access to a full orchestra using it only to play “Baa Baa, Black Sheep” on repeat.

Great is my joy that Disney veteran Sergio Pablos, whose oeuvre includes such Disney Renaissance titles as Aladdin , Hercules , and Tarzan , has established his own animation studio in Madrid, Spain, with the expressly intent purpose of breathing new life into the largely forgotten medium of traditional hand-drawn 2D animation. With the studio’s first release of Klaus on Netflix, here’s hoping that Pablos and company manage to do for traditional animation what Laika did for stop-motion.

Content Guide

Violence/Scary Images: The citizens of Smeerensburg are involved in a generations-old feud between two families/factions. The people come out ready to fight with weapons at the sound of the war bell. The two families lay traps for each other, spend lots of time trying to come up with ways to terrorize the other side. The two families chase Klaus and Jesper, who nearly plunge to their deaths. The town square has a noose and a battle bell.

Language/Crude Humor: None

Sexual Content: Jesper and Alva flirt and eventually kiss and become a couple. Two members from feuding families fall in love and marry. The bride carries the groom and calls him “mine.”

Drug/Alcohol Use: None

Spiritual Content: None

Other Negative Themes: Trust is broken at times

Positive Content: Primarily intended to educate rather than entertain, but kids may learn about the Scandinavian indigenous group – the Saami people.

Promotes moving past old grudges, not being afraid of new friendships, not judging others because of what their parents/grandparents did or felt. Also celebrates joy of children who want to have friends and to play, acknowledges sadness of adults who want children but don’t have them. Themes include communication, compassion, teamwork.

Jesper starts off as a “spoiled brat” but ends up a kind, generous man who appreciates the kids of Smeerensburg and his friendship with Klaus. Alva is a clever, persevering woman who rededicates herself to teaching. Klaus is a selfless man/toymaker who wants to bring joy to the children of Smeerensburg. A Saami girl and her indigenous tribe help Klaus and Jesper. Their speech is subtitled, and they dress in traditional Saami clothes.

I recall joining in the general clamor of 2013, in saying that Disney’s frosty box office juggernaut Frozen was successful in answering the clarion call for more offerings of a traditional sort. At the time, we had seemed to have come to a point at which everyone who still said they like Shrek only did so ironically. So following in the footsteps of the film that arguably killed feature-length 2D animation in the US of A was a practical trend that had more than worn out its welcome. Considering that so many of the other bastions of animated productions at the time had more or less tethered themselves either intentionally (Illumination) or unintentionally (Pixar) to a stake of repetition and mediocrity, the iron was quite hot for the Mouse House to strike hard with a chilly homage to their own Renaissance period of the 1990s.

What else released over the course of this now-ending decade could have felt more at home two decades ago than a visually arresting animated musical fairytale, with conventionally pretty and easily adorned female leads, and talking comical side characters that really shouldn’t be talking at all? Unfortunately, everything else that can easily dilute the novelty of even a great work came along with the release of Frozen. S o many viewers, myself included, found themselves once again crying out in vain, as though what was given to us in 2013, was either not good enough or had been somehow spoiled by its target audience. I’ll admit it: adult animation fans are a crazy bunch.

I can happily say that for more than one reason, that attitude can be laid to rest, thanks again… not DIRECTLY to Disney, but in a way. Sergio Pablos was one among many folks to whom my generation owes a great deal of thanks for the entertainment of our formative years. After so many noteworthy accomplishments over a decades-long career, such a talent would be criminal to waste if left to the dustbin of history. Mind you, many of the veterans of that Renaissance have done well by themselves in the fields of online and traditional education since then (one of whom I personally studied under), but it’s immensely satisfying to see one of the old guard take up the mantle in breathing newfound energy into the timeless art form of bringing handmade drawings to life.

Klaus , a family Christmas comedy that operates in part as an origin story for Santa Claus, is many things at once. It’s very much a standard tale of a selfish, scrawny victim of arrested development, maturing into a responsible contributing member of society, by being thrown into the ringer of how the other half lives (Think Aladdin and The Emperor’s New Groove . Now that I mention it, the lead character does bear more than a passing resemblance to David Spade’s Kuzco in more ways than one…). It’s also a mighty and vibrant declaration of what traditional 2D animation can deliver in the 21 st Century with the right amount of time, effort, technical direction, and dedication.

So much of what works so well here is what also makes me wonder (almost aloud) why it was so hard to secure funding for what is otherwise a very familiar tale. Jesper Johansson (Jason Schwartzman) is a postman in training, who’s not taking his “training” too seriously. Since his father is the Postman General, young Jesper feels he’s clear to be as lax and unaccomplished as he wishes, resting on the laurels of his lineage. Papa Postman is having none of these shenanigans, so he presents Jesper with a trying ultimatum.

Jesper is sent to the isolated and backwards northern fishing hamlet of Smeerensburg (which I found out through writing this is a real place), to post no fewer than 6,000 letters in a year, or else be cut off from the family fortune. Much like the aforementioned New Groove , Klaus is fundamentally a redemption tale for a spoiled brat trapped in a grown man’s body. Schwartzman pulls out all the stops embodying a twenty-something functional neet who, in true Disney-style branding flourishes, lives in a time and place largely unfamiliar to the target audience, but expresses himself in mannerisms and cadences that feel very “here and now” (“here” being the United States and now…still kinda being the 90s, it seems). Characters give high fives to each other, which I don’t think was a thing in the 19 th Century, and much slang is tossed here and there that probably would have been dated during even my days growing up in the last decade of the 20 th Century. The film even opens with the remark that we really don’t write letters very often these days…

Upon entering Smeerensburg, Jesper and we the audience are shown vividly that Jesper’s journey into full-fledged adulthood is going to be a more intense gauntlet than one probably would have guessed at first. The entire town visually resonates as though we’ve entered the maw of an ancient eldritch beast. Houses, shops, and other edifices are contorted into concave angles, as if they were giant rows of teeth gnashing at all outsiders who dared to cross their terrain. Considering that the entire town is embroiled in a “Hatfields and McCoys”-like clan feud between the Ellingboes and the Krums, the perils aren’t only skin deep. If that isn’t enough of an obstacle for poor Jesper, the entire town is functionally illiterate, so getting any letters to process from these folks is going to prove especially grim.

The belly of this beast has many crevices and threats lining its walls. The hostility of the denizens trickles down to the rambunctious guttersnipes, who swarm the nooks and crannies of town as efficiently as a pack of rats. On top of all that, everything is perpetually covered in ice, snow, and fog. The writers and art directors do an excellent job stacking the deck against Jesper, giving him seemingly no hope of success. There are however glimmers of civility amidst the wasteland.

One such glimmer comes in the form of Alva (Rashida Jones), a young and mildly attractive woman living in a warehouse lined with the hanging carcasses of fish that make up her wares as a monger. Curiously, the hovel is also adorned with the trappings of an elementary schoolhouse. Alva explains that her original role as a teacher lost its market value once the people of Smeerensburg lost their interest in basic education.

Another beacon of hope comes in the form of what at first seems to be a giant, grimly taciturn woodsman of few words voiced by J.K. Simmons who develops something of a symbiotic understanding with the fledgling Jesper. For much of this movie’s run, it’s remarkably easy to forget that this is meant to be something of a Kipling-esque origin fable for the legend of Santa Claus, and that is a strong mark on the pacing and framing skills of the filmmakers. The experience is much more enjoyable going into it not really expecting anything Christmas-related and being pleasantly gratified when coming across familiar elements of the legend.

To go further into that legend will also betray the refreshing joy of going into Klaus cold turkey, and for such a wonderfully crafted passion project, anything short of your full and unmitigated patronage would be an injustice, dear reader. For those of us who’ve been wondering since the turn of the millennium exactly how the traditional form of feature film animation could possibly reclaim a place of unironic consideration in the mainstream consciousness, this is one of the best answers we could receive.

Even the seemingly perfunctory side characters are so lovingly defined, voiced, designed, and acted that this would be just as entertaining and iconic even without the embellishment of the Saint Nick myth. A gruelingly sarcastic ferryman (Norm Macdonald) delivers witty Greek chorus commentary while invading the space of the drama periodically. A small gaggle of ghoulishly haunting waifs playact at torturing a snowman by impaling him with carrots. Then there’s those ladies who seem to constantly be carting off body filled with…well, it’s probably best that we don’t know.

Pablos and company make no apology for being artisans well-trained in and fully committed to their classical roots. At the same time, they have realized – probably better than anyone else so far – what such a well-worn medium would have to become in order to be accepted or recognizably modern to the audience of now. The charm and fluency with how the characters move and express themselves is recognizably a product of a bygone era. The mesmerizing luminescence with which everything is rendered, lit, stylized, and staged is wonderfully and ingeniously immediate. Unlike the otherwise impressive Green Eggs & Ham production, another Netflix property that was released around the same time, nothing about Klaus feels in any way dated, no matter how familiar and approachable it is.

In fact, while staying true to the tried and true methods of the past, Klaus is more forward thinking than even some of the bigger contenders. Disney just got a heap of praise for the somewhat last-minute decision to be more attentive to the indigenous nomads of the Scandinavian Peninsula, known as the Saami, in the production and release of Frozen II . Klaus goes a step further in that direction, casting Saami actors playing Saami characters speaking the Saami language in fairly significant roles to the plot proper.

It’s depressingly unusual to see a film that is clearly family-friendly but at the same time not afraid to be dark and fearless. During my formative years, this was normative. Before my time, it was even more commonplace. The workers of professional animation felt no pressure to coddle their audience with saccharine, easily digestible pablum that never challenges them or expects nothing but willingly passive eyes and ears.

If the fundamentals of this film all sound conventionally familiar to you, dear reader, that’s because they largely are. Aside from not being a musical, Klaus reads as though it might have been revived from a project left on the cutting room floor of Disney that Pablos just happened to pick up on his way out the door. This troubles me as to why exactly was this deemed too risky for funding and distribution outside of a “throw-at-the-wall-and-see-what-sticks” platform like Netflix? Hopefully the 30 million+ viewing count that Klaus has scored will ring not only as a clarion call to would-be producers of traditional 2D animation that there is still a strong market for their particular brand of storytelling commodity, but that all producers and distributors who missed an opportunity to capitalize upon it should lose just as much sleep as they do potential profits for that mistake.

+ Gorgeously rendered and animated + Fun and lovable characters + Brilliantly familiar and unfamiliar at the same time + Quite sophisticated for a family Christmas movie + Excellent writing

- Feels like there’s more that could have been explored - Only on Netflix - Forgets its sense of place and time on occasion

The Bottom Line

Yes. This. I like this thing. More of this thing, please. Frozen II? More like “Frozen Who?”, amirite? Man, I hate myself right now…

Tyrone Barnes

GDPR & CCPA:

Privacy overview.

"Witty and Charming"

What You Need To Know:

Miscellaneous Immorality: Character bribes children to write letters to help him meet his goal, character uses presents as an incentive to write letters, bad role models in Mrs. Krum and Mr. Ellingboe wanting the town to stay divided, there’s a tradition of hatred in the town, and a character tries to cheat and bribe his way through postman school but he’s discovered, punished and sees the error of his ways .

More Detail:

An animated movie, KLAUS follows a young postman tasked to create a working post office in a faraway town. His job is to have 6,000 letters mailed by the end of the year. When he meets an ally who has a house full of unused toys, he devises a plan that will encourage children to write letters. KLAUS is a strange take on the Santa Claus legend, with moments of unnecessary violence and brief magic, but it includes great messages about kindness, selflessness and the power of being united as one community.

As the movie opens, Jesper, the son of a postmaster, is in training to become a postman himself. However, when his father learns he’s cheating and bribing his way through his training, he decides it’s time to force his son to grow up. He sends Jesper to the community of Smeerensburg, a faraway town on an island that can only be reached by boat.

When Jesper arrives, he expects to find a lively town whose citizens are excited to welcome him. Instead, he finds an old, rundown place. When he accidentally rings the town’s battle bell, citizens run from opposite sides of the town ready to fight. He learns there’s a longstanding tradition of hatred between the Ellingboes and the Krums that’s divided the town. The townspeople learn Jesper is a postman and are outraged he has been sent there.

On his first day on the job, Jesper finds a drawing on the ground that was dropped by a child. Instead of giving it back, he convinces the child to mail it. He takes the letter with him out to the woods to visit one last place to check for mail. He arrives at an empty house filled with toys, but eventually runs into a big man named Klaus. Jesper assumes the man is a bad guy and runs away. As Jesper runs away, he drops the bag holding the letter. The letter finds Klaus who takes a look.

Cut to Jesper. He’s packing his things to head home and give up on his job. On his way out, he runs into Klaus, who’s carrying a wrapped toy. Klaus makes Jesper deliver it to the house where the child who mailed the drawing lives.

When the children of the town find out about the toy the child received after writing a letter, they all want to start writing letters. This ignites an idea in Jesper for a partnership between him and Klaus. Jesper encourages the children to keep writing letters asking for toys to help him meet his quota for mail deliveries, and Klaus will provide the toys. The two of them will deliver the toys to the children who write every night.

The letters and toys start to have an effect on the townspeople, who gradually start to put their differences aside and interact with one another. Will Jesper and Klaus change the longstanding tradition of hatred in the town, or will Jesper eventually be run out of town and fail to complete his job?

KLAUS is a witty animated movie with a twist on how Santa Claus came to be the legendary person we all know today. The movie has some heartwarming moments as the audience watches how one selfless act can put into motion countless other selfless acts.

KLAUS has a strong moral worldview with depictions of thankfulness, kindness, selflessness, and family. The movie also supports the importance of education for children. There is some unnecessary cartoon violence and one scene with scary dogs that are after Jesper, but they never get close to harming him. KLAUS has some implied magic in a few scenes and doesn’t mention Christmas, Jesus or the original St. Nicholas, but that doesn’t take away from the movie’s overall positive messages and warmth.

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Klaus Parent Guide

Streaming on netflix: touching and beautifully animated, klaus has the makings of a christmas classic. (but it's so good it can be watched year round.).

When a new postman meets a toymaker, the two mend a feud and begin Santa Claus's seasonal tradition.

Release date November 15, 2019

Run Time: 96 minutes

Get Content Details

The guide to our grades, parent movie review by savannah sillito.

“A truly selfless act always sparks another.”

Spoiled and lazy, Jesper (Jason Schwartzman) is given an ultimatum from his father, the Postmaster General: establish a post office on the secluded island Smeerensburg, posting 6,000 letters within a year, or be cut off financially. When Jesper arrives in Smeerensburg, he discovers a town divided by two warring clans: the Ellingboes and the Krums. Desperate to find a way to post letters, Jesper begins delivering letters from the town’s children to a reclusive woodsman named Klaus (J.K. Simmons), who gives the children presents in return. As the children of the town begin to perform acts of kindness, their parents follow suit and that spark transforms the town.

There are a few themes working throughout the narrative, but the most predominant one is that, as Klaus says, “a truly selfless act always sparks another.” When Jesper first arrives in Smeerensburg, the town is grey and silent. There is an ominous feel as you see the grey, expressionless faces, especially of the children. This is the most frightening part of the movie; the edges are sharp, and the tone is creepy. It was at this point that my three-year-old said, “This is too scary.” However, as the plot gets moving, the children of the town start doing good deeds for each other, followed soon after by the adults. The sun comes out, the edges soften, and the children play and giggle. Even for a young viewer, it is easy to see that kindness and service are proliferating and making the townsfolk happy. We see the change in Jesper as well, as he questions his motivations and his plans for the future.

As far as violence goes, the two clans are shown fighting each other, though this is done in a more slapstick, non-realistic way, with no blood or injuries visible on screen. However, I think this portrayal of fighting is justifiable, because the film is quick to show us the damage caused by the conflict, both on a personal and a social level. At no point is the violence depicted as honorable or worth emulating.

The animation style of this movie deserves special recognition. It appears hand drawn, but also has a slight 3D feel, making it gorgeous to look at. That hand drawn style adds to the timelessness and lasting power that I believe this movie could have.

Between the aesthetics, the story, the themes, and the performances (especially from Schwartzman), Klaus has all the makings of a holiday classic. I have now seen it twice and I cried both times. My three-year-old said that he liked it but admitted that it was a little frightening for him, mostly at the beginning. I highly recommend this movie if you are looking for a film with an uplifting message that both kids and adults can enjoy.

About author

Savannah sillito, watch the trailer for klaus.

Klaus Rating & Content Info

Why is Klaus rated PG? Klaus is rated PG by the MPAA for rude humor and mild action

Violence: People are seen fighting each other, including with weapons such as pitchforks, knives, and hammers. This is in a slap stick style, no blood or injuries seen. A man is chased by angry dogs. Sexual Content: A man and woman kiss. Profanity: A single term of deity is used. Some insults, including one character calling another an idiot. Alcohol / Drug Use: A man drinks beer in one scene, although it’s not overt.

Page last updated April 10, 2020

Klaus Parents' Guide

Why are the Ellingboes and Krums fighting each other? Is tradition a good enough reason for violence and division? Do we do things just because our parents or grandparents did them? How does one selfless act lead to another? What selfless acts could we perform.

Loved this movie? Try these books…

For stories about the big guy in the red suit, you can’t beat Clement Moore’s original The Night Before Christmas.

For a beautifully illustrated story of a toymaker and his wife who became Father and Mother Christmas, check out The Untold Story of Father Christmas. Written by Alison and Mike Battle, this book is illustrated by Lauren A Mills.

One of our favorite Santa stories is Elise Primavera’s Auntie Claus. This picture book tells the story of young New Yorker, Sophie and her Auntie Claus, who lives in a festive whirl. One year, Sophis decides to find uncover the truth about her beloved aunt…

Is your child wondering if Santa’s real? Try turning the tables with Maureen Fergus’ fun tale, The Day Santa Stopped Believing in Harold. If Harold stops writing to Santa, does that mean Harold isn’t real? What’s Santa to think?

What is the North Pole really like? If your child wants an immersive look at Santa’s world, check out Rod Green’s Santa Claus: The Magical World of Father Christmas.

In Taro Gomi’s Presents Through the Window, a rushed Santa Claus starts tossing random gifts through windows. What’s going to happen in the morning?

We all love Christmas pop-up books. With Here Comes Santa, David Pelham has created a pop-up board book for even the youngest readers.

Professor Popinjay's Non-Reviews

Santa Claus: The Movie (1985)

Published by

Professor Popinjay

A Non-review by Professor Popinjay

Not to be confused with Tim Allen’s The Santa Clause dodecahextuplegy or Santa Claws, the horror movie I’m sure SOMEBODY SOMEWHERE has made, nor any other movie featuring Santa Claus, this is the true fictional fairytale of Santa Claus’ actual real life fantasy origins told as if they are factually true but not. Also Dudley Moore is an elf. Also he plays the part of an elf in this movie.

I genuinely enjoyed parts of this film. Other parts I ironically enjoyed. It was kind of like they made a live action version of the stop-motion Rankin & Bass Santa Claus is Coming to Town. It’s a lot of convoluted explanations for all that Santa is and does and why he does it. It’s quaint.

I didn’t find it hokey by any means. The actors were putting in great effort considering even some of the more silly aspects of the script and this clearly had a huge budget. Once we get past the Santa Origin aspects, we’re led into a plot about a disgruntled elf who sees fit to leave the workshop to become a dentist, I mean to reunite with his human father, I mean to prove himself to Santa by naively teaming up with a heartless businessman who wants to make a profit off of elf magic. Yeah, that’s the one.

The businessman is played by John Lithgow and, as always, he’s a joy to watch. His villains are always such a treat. When I saw this as a kid it was Lithgow’s character who stood out to me. He was by far the funniest. Dudley Moore was funny too and played the part of the elf as you might expect an elf to be played I suppose but once he’s on screen with Lithgow it’s all over. Lithgow steals the show as the saying goes and it’s just fine with me.

Eventually it ends with some danger and hi-jinks and everyone hugs, the end. All in all it was a good watch. The sentimentality in the beginning was ladled on pretty thick and there’s a lot of long LoOoOoNG shots of characters just smiling warmly at each other or reverently watching he who would be Santa slllllllllooooooooowwwwwwlllllyyyy wonder at all he surveys. It’s a bit like watching the sentimental parts of the Star Wars Christmas Special or Jesus of Nazareth. Jesus was the son of God right? So everything he does must be super prolific and wonderful and mystical and spoken with wide eyes and a sense of urgency akin to the kids in the M. Night Shyamalan The Last Airbender movie! Or, what if Jesus was accessible and down to earth (no pun intended). And this is why I liked Tim Allen as Santa. Sure this Santa was sweet but Tim Allen was fun. And as transitions go, forget about it! They just kill Santa off and bam! Tim is Santa now. All the elves instantly accept him and they get back to work. No wide-eyed wonder. No ten minute warm smiling. No drawn-out ceremony with Father Time coronating him. The elves are used to Santa breaking his neck on the Suchac ladder and they have 7 billion Christmas presents to fabricate. Let’s get this show on the road!

This was a good movie though. I recommend it. However, if Dudley had made just one more elf pun I would be putting every copy of this I could find into a skeet shooter during the national skeet shooting championship. Thankfully it was just the right amount.

The Munsters Is Getting Rebooted Again

Following Rob Zombie's Netflix movie, The Munsters is set to be rebooted once again.

A new television series based on The Munsters is in the works. It will breathe new life into the franchise after it took a detour in 2022 with a feature film directed by Rob Zombie.

Per Deadline , UCP is developing a new series called 1313 , described as a horror series playing on the Universal Monsterverse and a "reimagining" of The Munsters. The title is a reference to 1313 Mockingbird Lane in Mockingbird Heights, the address where the Munster family resides in the previous versions of the story. Lindsey Anderson Beer ( Pet Sematary: Bloodlines ) is on board to serve as showrunner for 1313 , and she's developing the series with James Wan and Ingrid Bisu for UCP. Beer and Wan will executive produce with Michael Clear and Rob Hackett for Atomic Monster, while Bisu is co-executive producing.

Rob Zombie Can't Give Up - The Munsters Must Have a Sequel

The most recent reboot of The Munsters was in 2022 when Rob Zombie released his feature film adaptation on Netflix. The movie respectively starred Jeff Daniel Phillips , Sheri Moon Zombie, and Daniel Roebuck as Herman, Lily, and The Count, serving as an origin story for Herman and Lily's relationship. There had been hopes with the cast that a sequel would be made, though it now appears that a new direction will be taken with the franchise.

The Munsters (2022) May Not Be Getting Its Sequel

"If all goes well and people really like, maybe we’ll get the chance to do it again," Roebuck said of a potential sequel in a Horror Geek Life interview. "I just hope people realize that they’ll have a whole new version of The Munsters that can live and co-exist side-by-side with the original version of The Munsters. No one wants to replace it, we all love it so much. We just want to shine a spotlight on it with our approach which I think is the best way to look at it."

Terrifier 3 Reveals First Look at The Munsters Star as Santa Claus

The franchise began with the original TV series that aired for two seasons with 70 episodes from 1964 to 1966 on CBS. The Munsters imagined what it would be like classic movie monsters were living a sitcom-style family life . Its cast included Fred Gwynne, Yvonne De Carlo, Al Lewis, Butch Patrick, Beverley Owen, and Pat Priest.

Before Zombie's reboot, several feature films featuring characters from The Munsters had been released. A reboot series, The Munsters Today , had a successful run of its own, airing for three seasons from 1988 to 1991. In 2012, NBC had aired a special called Mockingbird Lane , which was the pilot for a Bryan Fuller-created reboot of The Munsters that was ultimately not ordered to series.

Source: Deadline

The Munsters

A family of friendly monsters have misadventures, never quite understanding why people react to them so strangely.

Cast & crew

Saint Nick of Bethlehem

The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new pu... Read all The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new purpose when he takes on the role of Santa Claus. The original story about a man who lost his son, became Santa to many, reunites with his love, and brings hope to all. Distraught over losing his son, he finds closure and discovers a new purpose when he takes on the role of Santa Claus.

Spencer Folmar
Daniel Roebuck
Cathy Moriarty
Marsha Dietlein

Working with the art department on Saint Nick of Bethlehem.

Reverend Jimbo

Casualty Assistance Officer
All cast & crew
Production, box office & more at IMDbPro

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Stream It Or Skip It: ‘Violent Night’ on Streaming, Starring David Harbour as a Santa Who Can Unleash Hell When He Has To

Where to stream:.

Violent Night

Violent Night (now streaming on Amazon Prime Video ) casts Stranger Things star David Harbour as a badass Santa who can handle his booze and his warhammer better than he handles his reindeer. This gleefully, gloriously dumb, unapologetically brutal thing is about one hammer-smashed face away from putting the X-rating in Xmas. As they say, your mileage may vary for this sort of tongue-in-cheek fodder – so let’s see if it’s in poor taste or if it’ll have us laughing all the way.

VIOLENT NIGHT : STREAM IT OR SKIP IT?

The Gist: BELLCHH. It’s Christmas Eve, and Santa’s (Harbour) crocked. He laments how kids just want money and video games anymore. He’s been doing this too long. His heart’s not in it. Is he a Salvation Army corner Santa or a mall Santa or a hired-for-parties Santa? Hmm. The bartender follows his drunk ass up to the roof and is shocked to see him on the sleigh with the reindeer and all that, and she looks up just in time for him to thunder-chunder his guts out all over her. He flies all over the world, eating cookies, stealing liquor, pulling gifts from his magic sack, shotgunning beers, side-of-his-nosing up chimneys with a stardust twinkle, pissing off the side of the sleigh. He’s the real deal. He’s magic. But he’s also human.

Meanwhile, in Greenwich, Connecticut, Jason (Alex Hassell) and Linda (Alexis Louder) are gutting out the holiday for their dear, sweet, perfect, adorable, innocent, beloved daughter Trudy (Leah Brady). They’re splitsville, but Trudy wanted Mom and Dad to be together for Christmas at Grandma’s. It’s a lot to ask, more so for Linda, because Jason’s family has billions in the bank, and his mother Gertrude (Beverly “Ellen Griswold” D’Angelo!) is a Piece of Work. Jason’s sister Alva (Edi Patterson) is also a Piece of Work who’s raising a Piece of Work influencer teen boy Bert (Alexander Elliot) and dating a Piece of Work actor (Cam Gigandet). Joy to the world for all the selfish entitled a-holes.

The house is so big, Santa can bump down the chimney, swig some 90-year-old brandy and futz around without anybody hearing him. It’s also so big, there’s a vault in the basement containing 300 mil in cash. And so a man who identifies himself only as Scrooge (John Leguizamo) crashes the party with a crew of heavily armed rapscallions to take everyone hostage and steal the dough. Santa catches wind of the shenanigans and before you know it, he’s kinda John McClaneing through the mansion while Scrooge Hans Grubers his way to the vault. Thing is, John McClane never whaled on the bad guys with a stocking full of pool balls or creamed thugs with a sledgehammer to the tune of ironic Christmas carols.

What Movies Will It Remind You Of?: Violent Night is Die Hard meets Bad Santa meets Fatman with a couple elements of The Northman (yes, The Northman ) and an extended homage to Home Alone .

Performance Worth Watching: Harbour works hard to sell the grizzled-Santa bit, striking the perfect comic tone to deliver lines like SANTA’S GONNA EAT THROUGH THESE GUYS LIKE A PLATE OF COOKIES.

Memorable Dialogue: Santa promises dear little Trudy he’ll rescue her from the creeps:

Santa: I’m gonna take a lump of coal and shove it straight up- Trudy: Their ass? Santa: Come on, sweetie, we wanna keep you on the nice list, you know. Trudy: Sorry, can I say “butthole” then? Santa: That’s borderline.

Sex and Skin: None, perhaps disappointingly.

Our Take: Violent Night is just horrible, moronic garbage – albeit horrible, moronic garbage I can get behind. The not-so-jolly old elf is smack in Harbour’s wheelhouse, and he and Leguizamo deliver spoofy hard-boiled action-movie one-liners with juicy aplomb. This Santa could really use a fresh jolt of Christmas spirit, and he finds it in two things: a little girl’s innocence, and the sweet, sweet release of gratuitous violence. I laughed my ass off. In spite of myself.

By no objective means is this a “good movie.” It aims low and bullseyes an easy target: happy-happy-joy-joy Christmas feelings. Granted, it indulges a couple of those feelings so it doesn’t fall into and get stuck in the depravity pit, but for the most part, it rebels against the feelgood slop of most holiday fodder. It’s not the first movie to flip the table on sentimental Christmas cheer, and follows its own formula of subversion – hey, lookit Santa, he’s barfing and bashing in skulls. Frankly, it doesn’t go any deeper than that, it’s a touch too long at 112 minutes and the Home Alone shit feels overly indulgent. But Violent Night hits the perfect tone for Christmas blasphemy, the movie equivalent of stepping out of the family party for a minute to sneak a shot of whiskey.

Our Call: STREAM IT. No sane person will consider Violent Night a perennial classic, but Harbour inspires enough ho-ho-hos and cheeky holiday mayhem to warrant a watch.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan. Read more of his work at johnserbaatlarge.com .

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Klaus movie review & film summary (2019)
Klaus is a quiet, frighteningly strong-looking hulk—initially presented as a monster, his face obscured or hidden— but he's a gentle soul and a gifted artist. Even though you can see where his story is going to end up (with the establishment of a toy factory and the acceptance of a mission), it's still pleasurable to watch him and Jesper ...
Klaus
Rated 5/5 Stars • Rated 5 out of 5 stars 03/17/24 Full Review Eleonoor Klaus is possibly the most lovely Christmas movie ever made. The humour, the music beats, the heartwarming message, it is a ...
'Klaus' Review: A Santa Origin Story
Jason Schwartzman does almost too good of a job voicing an irritating character in the animated movie "Klaus.". He plays Jesper, a student who is deliberately flunking out of the postal ...
Klaus Movie Review
Our review: Parents say ( 50 ): Kids say ( 30 ): This holiday movie with roots in friendship, bridge-building, and the dying art of letter writing is sure to entertain and amuse thanks to its impressive animation and expressive voice cast. Klaus 's take on the Santa origin story is unique and a little loopy, but as Jesper and Klaus collaborate ...
Klaus (2019)
Klaus: Directed by Sergio Pablos, Carlos Martínez López. With Jason Schwartzman, J.K. Simmons, Rashida Jones, Will Sasso. A simple act of kindness always sparks another, even in a frozen, faraway place. When Smeerensburg's new postman, Jesper, befriends toymaker Klaus, their gifts melt an age-old feud and deliver a sleigh full of holiday traditions.
Klaus Review: Netflix Delivers a Gorgeous but Contrived Santa Story
It's a shame, then, that the film isn't half as nice to watch as it is to look at. "Klaus" is a ridiculously convoluted Santa Claus origin story that reverse-engineers the Christmas spirit ...
'Klaus' Review
The movie's gently revisionist take on the Santa Claus legend is perfectly complemented by its visual style, which combines characters and settings that might've been designed a half-century ...
Netflix's Klaus Review: An Awesome Oddball Origin Story for Santa
Verdict. Sergio Pablos' Klaus is a beautifully animated mix of old and new - offing up a unique and quirky take on Santa's humble beginnings. It's a fun, fresh story about friendship and the power ...
Klaus
Full Review | Original Score: 7/10 | Jun 4, 2022. Relying on known motifs with a twist for various montages and scenes, Klaus allows the audience to be in on the joke keeping older audiences ...
'Klaus' Review: Netflix Reimagines the Legend of Santa
'Klaus': Film Review Sergio Pablos invents an unnecessarily complicated origin story for the beloved Christmas legend in Netflix's first foray into animation. By Peter Debruge
Klaus
Sergio Pablos' Klaus invents its own unexpected and very enjoyable origin story for the big guy who gives out toys every Christmas eve. Shaking off most Yuletide cliches in favor of a from-scratch story about how even dubiously-motivated generosity can lead to joy, it contains echoes of other seasonal favorites (especially, in a topsy-turvy way, Dr. Seuss' Grinch) while standing completely on ...
'Klaus' is one of the best animated movies of the year and a stunning
Nov 10, 2019, 11:12 AM PST. Jesper goes on an unexpected journey of self-discovery after his father threatens to cut him off from the family fortune in "Klaus." Netflix. Warning: There are mild ...
Klaus (2019)
Filter by Rating: 8/10. In a sea of generic Christmas movies, Klaus stands out. cricketbat 22 December 2019. Klaus is an amusing new twist on a very old story. It's a heart-warming tale with an uplifting message about kindness, featuring beautifully unique animation, interesting characters, and a clever plot.
Klaus (2019) Movie Review
Shot by Sergio Pablos, a weathered animation film creator, here's a future holiday classic to be reckoned with. Klaus is a beautifully old-school-looking, 90s Disney-style animation movie about the origin story of the world's most beloved toymaker, Santa Klaus. Dispatched to a bleak arctic town, because he really wasn't very good at his job at ...
Klaus
Movie Review. Jesper has only ever known the posh life. As the son of the director of the Royal Postal Academy, Jesper prefers to spend his days ordering room service and sleeping on silk sheets. ... Klaus, for his part, wakes from his depressed stupor and begins to see the joy and happiness in life. He works diligently to provide toys for kids ...
Klaus (film)
Klaus is a 2019 animated Christmas adventure comedy film written and directed by Sergio Pablos in his directorial debut, produced by his company The SPA Studios and distributed by Netflix.Co-written by Zach Lewis and Jim Mahoney, and co-directed by Carlos Martinez Lopez, the traditionally animated film stars the voices of Jason Schwartzman, J.K. Simmons, Rashida Jones, Will Sasso, Neda ...
Movie Review
Klaus, 2019.Directed by Sergio Pablos.Starring Jason Schwartzman, J. K. Simmons, Rashida Jones, Joan Cusack, Will Sasso, and Norm Macdonald.
Review: Klaus
Review: Klaus. December 22, 2019 / Tyrone Barnes. Distributor: Netflix. Directors: Sergio Pablos, Carlos Martínez López (co-director) ... For much of this movie's run, it's remarkably easy to forget that this is meant to be something of a Kipling-esque origin fable for the legend of Santa Claus, and that is a strong mark on the pacing and ...
'Klaus' Netflix Review : Stream It or Skip It?
This movie is packed with jokes, most of them visual, and most of them Jesper's. Memorable Dialogue: "A true selfless act always sparks another.". Why proto-Santa Klaus whispers that line is ...
Klaus (2019)
Synopsis. Jesper (Jason Schwartzman) is the lazy and unambitious son of a Postmaster General, who deliberately under-performs at his father's postal academy. In a final effort to get his son to change his behavior, his father sends him to the distant island town of Smeerensburg with the task of posting 6,000 letters in a year, and if he fails ...
Watch Klaus
A selfish postman and a reclusive toymaker form an unlikely friendship, delivering joy to a cold, dark town that desperately needs it. Watch trailers & learn more.
KLAUS
They team up to provide toys for the children when they write letters. KLAUS is a witty, charming movie with heartwarming moments. It cleverly shows how one selfless act can put into motion countless other selfless acts. KLAUS has a strong moral worldview with depictions of thankfulness, kindness, selflessness, and family.
Klaus Movie Review for Parents
Klaus Rating & Content Info . Why is Klaus rated PG? Klaus is rated PG by the MPAA for rude humor and mild action . Violence: People are seen fighting each other, including with weapons such as pitchforks, knives, and hammers. This is in a slap stick style, no blood or injuries seen. A man is chased by angry dogs. Sexual Content: A man and woman kiss. ...
Santa Claus: The Movie (1985)
A Non-review by Professor Popinjay. Not to be confused with Tim Allen's The Santa Clause dodecahextuplegy or Santa Claws, the horror movie I'm sure SOMEBODY SOMEWHERE has made, nor any other movie featuring Santa Claus, this is the true fictional fairytale of Santa Claus' actual real life fantasy origins told as if they are factually true but not.
Oppenheimer (film)
Oppenheimer is a 2023 epic biographical thriller drama film written, directed, and produced by Christopher Nolan. It follows the life of J. Robert Oppenheimer, the American theoretical physicist who helped develop the first nuclear weapons during World War II.Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, the film chronicles Oppenheimer's studies, his ...
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Edinburgh Studies in Law is an important series that was launched by Edinburgh University Press in 2005 in association with the Edinburgh Law Review Trust. The series provides a forum for high-quality academic writing on contemporary substantive law, private and public, as well as for legal theory and legal history.
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The most recent reboot of The Munsters was in 2022 when Rob Zombie released his feature film adaptation on Netflix. The movie respectively starred Jeff Daniel Phillips, Sheri Moon Zombie, and Daniel Roebuck as Herman, Lily, and The Count, serving as an origin story for Herman and Lily's relationship.There had been hopes with the cast that a sequel would be made, though it now appears that a ...
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'Violent Night' Amazon Prime Video Movie Review: Stream It or ...
Sex and Skin: None, perhaps disappointingly. Our Take: Violent Night is just horrible, moronic garbage - albeit horrible, moronic garbage I can get behind. The not-so-jolly old elf is smack in ...

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'Klaus' is one of the best animated movies of the year and a stunning revival of 2D animation

Why you should care: 'Klaus' is the passion project of 'Despicable Me' cocreator, Sergio Pablos, with the heart of a traditional animated film.

What's hot: The animation, a story that will tug at your heartstrings, and Schwartzman's performance as the selfish and spoiled son of postman royalty.