Clocking in at seventy minutes, Carnage for Christmas wastes no real time in getting to its core story. We are introduced to Lola during a live recording of her podcast, and in doing so, the seeds are sown for the mystery as to why the Toymaker is after her. However, due to the short runtime, the story feels rushed and the characters lack depth. In turn, the same can be said for the characters who don't particularly offer much. Whilst I can recognise the fight that was being told on screen thematically and literally, Lola is not the most affable lead which negated the attempts at making her the hero. Everyone is written less as characters and more as messengers which became more frustrating as the narrative unfolded. The dialogue throughout lacked a sense of nuance and depth that was sorely needed, and instead, character interactions felt forced and more like interactions on X. Additionally, the antagonist's overall motivations felt lost and slightly convoluted by the time the credits rolled.

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Similarly to Mackay's other films, there are interesting visual choices throughout that offer a splash of vibrancy, though, at times, these filters did not add much to proceedings aside from a random flash of style. Along with some sound mixing issues, Carnage for Christmas instead felt like a calling card that promised style and substance but, ultimately, didn't provide either. Mackay does show further promise here though in her continuing growth and evolution; there is an impressive practical death scene that screamed creativity, and further technical flourishes that helped to create a sense of urgency or slight tension in certain moments and interactions - I just wish there had been more tension, more atmosphere, and a greater reason to care for the cast of characters.

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Carnage for Christmas offers little in the way of carnage, though it is set at Christmas. Desperately needing time to breathe, the film thunders to its predictable ending whilst providing little in the way of thrills en route.