The release of Red One, Dwayne Johnson’s latest attempt to dominate holiday cinema, has unfolded with the kind of predictable mediocrity that feels both disappointing and inevitable. The first trailer, dropped on June 25, 2024, set expectations at rock bottom, and the film’s November 15 theatrical debut delivered on those bleak predictions, flopping spectacularly at the box office. Just under a month later, on December 12, Red One waved the white flag and made a hasty retreat to Prime Video. Ironically, its ignominious theater run didn’t stop it from quickly climbing to the top of Prime Video’s U.S. rankings, courtesy of the same sense of apathetic curiosity that once filled bargain DVD bins.
Starring Johnson as Callum Drift, North Pole security chief and perennial protector of Santa Claus (played by J.K. Simmons), the film weaves a plot involving a Christmas witch, Grýla, who kidnaps Santa. Drift teams up with Jack O’Malley (Chris Evans), a rebellious soul from the naughty list, to save Christmas. The premise promises a campy holiday romp but instead delivers a soulless mishmash of CGI chaos, uninspired action sequences, and humorless attempts at charm.
The film’s earnest absurdity—think weaponized toys, anthropomorphic polar bears, and killer snowmen—might have been enjoyable if approached with the right balance of heart and humor. Instead, it lands with all the sincerity of a prepackaged holiday fruitcake, offering brief, ironic laughs rather than genuine enjoyment. Johnson’s dead-serious portrayal of Callum, juxtaposed against the ridiculous backdrop, feels more like a missed opportunity than a deliberate comedic choice.
Despite its success on streaming, Red One epitomizes the hollow spectacle of modern consumer entertainment. It relies on flashy visuals and big-name stars to mask its lack of meaningful storytelling or emotional engagement. While the film screams for viewers to have fun with its silliness, it simultaneously undercuts itself by failing to lean fully into the absurd or to deliver anything of substance.
Yet, amid the cultural noise of projects like this, there remains an abundance of genuinely moving, thoughtful, and creatively ambitious films. Titles such as The Holdovers, Past Lives, and classics like It’s a Wonderful Life stand as reminders of cinema’s potential to inspire, connect, and provoke thought. Choosing to engage with such works, rather than indulging in shallow spectacle, is a small but meaningful act of resistance against the creeping nihilism of empty entertainment. Let’s just hope Red One finds its rightful place in the forgotten corners of streaming libraries sooner rather than later.