DEC 12, 2024 | ARTS & ENTERTAINMENT | By Cate Rosenbaum
When I first told my mom I was reviewing this movie, she gasped, “Oh my god, I LOVE that movie,” she told me through the phone. I was scratching my head — and I wouldn’t be surprised if you are too.
“Falling for Christmas” (2022), starring Lindsay Lohan and Chord Overstreet, is not a movie that many would say they “love.” It’s normally the opposite: the campy premise and bad acting are ripe for film critics and viewers alike to tear to shreds.
Part of why this movie is so memorable is that it marks Lindsay Lohan’s first foray into romcoms. Her career began with a bang, starring in “The Parent Trap” (1998) as a child and “Mean Girls” (2004) as a teen, arguably more infamous, however, is her decline in the public’s eye. From numerous court appearances to struggles with drug addiction between 2007–2012, her personal issues began to overshadow her career. Though she acted in several films between 2013–2019, “Falling for Christmas” represented a fresh start — a chance to reclaim her place in the spotlight. Here, she stands in for the female viewer, embodying that little subconscious part of us that just wants to be wooed and loved easily.
A Hallmark-esque movie was a safe bet career-wise. Hallmark films aren’t known for being “good” in the traditional sense. The acting doesn’t matter, and neither does the story — what audiences really watch for is the inevitable payoff: everyone falls in love, lives happily ever after, and viewers are flooded with those gooey, feel-good emotions we crave during the holiday season.
But “Falling for Christmas” isn’t a Hallmark Channel original, even though it does everything to emulate one. As a Netflix Original, the movie reached a wider audience than a Hallmark film might have, and while hiring Lohan was a gamble for Netflix, I’d argue that it paid off. I don’t typically watch Hallmark-style movies, but I tuned in because I was curious to see her in this kind of role — and I’m sure many viewers felt the same. Netflix cleverly leveraged the spectacle of her career as part of the marketing.
The movie itself isn’t great. It follows Sierra Belmont (Lohan), a spoiled billionaire’s adult child, who gets into a skiing accident and loses her memory. She’s taken in by a family running a struggling local hotel, where she learns how to be a normal, empathetic person (gaining critical skills like cooking an egg and making a bed). Inevitably, she bonds with the hotel owner Jake Russel (Chord Overstreet) and his daughter. She breaks up with her influencer-fiancé Tad (George Young), stays with Jake, and helps save the hotel, which becomes fully booked for the ski season. Everyone lives happily ever after.
It’s cheesy and cliché, but that works in its favor: the movie has an earnest heart. Jake’s grief over his late wife and the impact on his family are treated with genuine care. Similarly, Sierra lost her mother as a child. The characters’ grief is portrayed honestly, which adds depth to their connections and personal growth. This emotional weight sets the movie apart from other Hallmark-style Christmas films — it delves into how loss impacts us, especially during the holidays. Importantly, Sierra doesn’t “replace” Jake’s late wife but becomes another cherished part of their family.
The movie also touches on relevant real-world issues. While Hallmark films often feature a stressed city girl falling for a small-town boy, Jake’s hotel story brings more depth. He blames his struggling business on chain franchises and Airbnb rentals siphoning customers away. This subplot encourages viewers to consider their own travel habits — how often have we chosen an Airbnb over supporting a local business? The film nudges us to think about the impact of tourism on small mountain towns and what it means to support local communities.
But most importantly, it’s funny. Sometimes, I laughed where the director probably didn’t intend for me to, but I was laughing all the same. Sierra’s over-the-top personality and her influencer boyfriend provide plenty of comedic relief. Even if you don’t watch it, I’d encourage you to watch the proposal scene, because it’s patently ridiculous. Sierra begins falling, seemingly out of nowhere, and loses Tad’s hand when he grabs her too-big ring. Tad himself falls when a random hole opens in the ground. The CGI is so hilariously bad it feels like the animators barely tried. This campy absurdity runs throughout the film, making it fun to watch regardless of whether you care about the themes.
Lohan’s acting isn’t amazing, but she delivers exactly what the film requires. While I’m probably not going to watch Lohan’s other romcoms, I’m still glad I watched this one. And though reviews aren’t glowing, they’re not terrible either: it’s still fresh on Rotten Tomatoes, holds a 5.2 on IMDb, and has been called one of the best Christmas movies of all time by Rotten Tomatoes. On Letterboxd, it only has a 2.1 average, but even the top one-star reviews have it favorited.
I think that counts for something. It’s not a “good” movie, but it hits an emotional part of us — even if that part just makes us laugh. Maybe Hallmark-style films offer an escape through their cheesiness and clichés; maybe, even with bad acting and predictable plots, they fulfill a fantasy of love and kindness that feels necessary when real life is overwhelming.
So I can see why my mom loves this movie, even though it’s objectively bad. Maybe during break, I’ll rewatch it with her, and we can laugh together as Sierra tumbles down a mountainside in her bright pink snowsuit. I think that’s what the holiday season is all about.