Caution: SPOILERS

Michael Dougherty’s new movie Krampus really, really wants to be this generation’s Gremlins: a scary Christmas story with equal parts humor and horror, where one minute you’re cringing in terror, and the next you’re laughing at the goofiness on display. And, for a while, it succeeds.

Adam Scott (“Parks and Recreation”) stars as Tom, a very busy businessman who is trying to make some time for his wife Sarah (Toni Collette) and son Max (Emjay Anthony) this season. After a tense, not-very-merry dinner with the in-laws (David Koechner, Alison Tolman, and their kids, along with aunt Conchata Farrell and grandmother Krista Stadler), Max loses his cool, curses Christmas, and rips up his letter to Santa. He throws the pieces out his window, where they flutter up into the night sky, whisked away by the frigid wind.

This action came out of nowhere and was really out-of-character, but I tried to just go with it. Wasn’t easy, since the rest of the movie hinges on this defiant act (and its ultimate redemption), but it kind of left a bad taste behind.

A blinding snowstorm suddenly blankets the town, trapping the extended family inside with no electricity. Grandmother Omi seems to know more than she lets on, telling her son to keep the fireplace blazing hot.

Max’s sister goes out into the snow to check on her boyfriend, and is the first victim of the horned creature. This whole sequence works really well, with Krampus tracking her through the storm, barely visible as the wind and snow blow fiercely around her. This is also when we are introduced to one of Krampus’s evil toys, a creepy little Jack-in-the-box with a mouth like the Predator.

If you’re looking for an extremely accurate presentation of the original Krampus mythos from Europe, keep on walking, friend. The filmmakers took the bare bones (heh heh) of Krampus and ran with it, giving him a sack of evil toys, hideous elvish henchmen, a red hood-and-cloak, and a human-ish face (or is it a mask?), basically turning him into the anti-Santa with horns and cloven hooves.

As Krampus unleashes more mayhem (including evil snowmen that…uh…don’t actually do much of anything), family members get snatched up and taken away one by one. Omi gives us some backstory in a very stylized and charming animated sequence that reminded me of Laika’s best work.

There are two sequences in this movie that really shine, and point to where this film could have gone. The attic sequence, where evil toys escape from their boxes and get all scary, is terrific. At turns creepy and quiet, then on a dime turning into terrifying craziness, this was one of the best parts of any horror movie I’ve seen in ages. And then, when Gremlin-esque gingerbread men attack Koechner in the kitchen with a nail gun, I really began to love this thing. This was what I signed up for.

Sadly, though, these types of scenes were few and far between. A lot of the actions of the characters seemed unmotivated by anything other than needing to get to the next scene. Stuff happens because it needs to happen, not because a character would do it naturally. Add to that a confusing finale that very nearly negates almost everything that came before, and…well… It became a little unsatisfying.

I think the PG-13 rating may have hindered it in the end. There is some real menace and danger that ultimately comes to nothing. Are lessons learned? Even that’s unclear, although I have to praise Dougherty for ending the film on a bittersweet, ambiguous note. I’m sure it made studio heads reach for the Tums.

I do recommend this one, with some reservations. Lower your expectations (and having to say that about a film from the guy who made Trick ‘r Treat hurts my heart) and you’ll probably have a good time. Uncle Mike sez: check it out (but feel free to see it at a bargain matinee).