The 20 Best Christmas Movie Characters Of All Time, Ranked

Sharing a meal with family and friends is all well and good as far as Christmas celebrations go, but for the film lovers among us, it’s the perfect time to hibernate in front of the television with a cozy blanket and mug of hot chocolate with a watch-list of some of the greatest Christmas films ready to go. While not every cinephile finds satisfaction out of the genre, it’s a time so magical that everything from horror films, ’80s action, and even German Impressionism can all find a place in Christmas films. 

Ranging from the corny and ridiculous to generational classics, Christmas films have introduced to us some of cinema’s most memorable characters. The traditional George Baileys and multiple Santa Clauses hit us in the feels and remind us of the season’s merriment, while the Christmas-adjacent Gizmos and John McClanes grant us the space to clench, laugh, and gasp with festive cheer. To celebrate the approaching Christmas season, we’ve ranked the 20 best Christmas movie characters of all time. Merry Christmas, ya filthy animal! 

A seminal, albeit not traditional, classic among Christmas movie watches, “Black Christmas” endures as one of the most influential and bone-chilling slashers of all-time. Nearly every trope that makes up the genre today finds its roots in Bob Clark’s 1974 film that takes inspiration from “The Babysitter” urban legend. Centered around a sorority house and the disappearance of one of its sisters during a Christmas party, “Black Christmas” was ahead of its time in its portrayal of womanhood and the foreboding threats of violence that often follows as women come of age.

Although not the main protagonist or the final girl, Margot Kidder’s Barb maintains a special place within the film. At first glance, Barb is a brash college student with a drinking problem. Obnoxious and cynical, Barb’s introduction doesn’t inspire much connection to audiences; however, through Kidder’s nuanced performance, we come to see Barb as a hurt and dejected daughter — a young woman struggling to find her place in this world desperate for guidance.

Unravelling the layers to Barb only makes her death by glass unicorn that much more upsetting. Season’s greetings, everyone — the call is indeed coming from inside the house.

Continuing on with the festive cheer is Billy Bob Thornton’s delightfully curmudgeonly Willie T. Stokes. In many ways, “Bad Santa” delivers on the Christmas message so many classic films of the holiday season bring, just in a lewd and drunken way.

Every Christmas, Willie and his assistant-cum-accomplice Marcus (Tony Cox) find a job at a department store as a Santa and elf duo. Come Christmas Eve, the two ransack the mall with Marcus’ wife (Lauren Tom) as their getaway driver. It’s an act that’s worked for them until one Christmas, Willie’s alcoholism and general surly attitude threatens their entire operation and Marcus has to take matters into his own hands.

Watching Willie transform from a miserable git to a human being with a shred of warmth makes “Bad Santa” the perfect anti-Christmas-but-not watch, and Thornton’s performance seals the deal entirely. It’s hard to imagine anyone other than Thornton as Willie, even though everyone from James Gandolfini to Bill Murray to Robert De Niro were considered before him. But thankfully the Hollywood stars aligned and Thornton’s dry humor and mumbly darkness could grant unto Willie the Yuletide spirit necessary for this Grinch-like Christmas tale.

Do not expose it to sunlight. Do not let it get wet. And for the love of God, never feed it after midnight.

With only three rules to follow, caring for a mogwai should be simple, but Billy Peltzer (Zach Galligan) finds out otherwise. In Joe Dante’s ’80s classic, the mogwai gifted to Billy for Christmas, affectionately and adorably named Gizmo (voiced by Howie Mandel), becomes a dear friend and companion to the teen, but the ones that spawn from Gizmo are another story.

When “Gremlins” was released into theaters in the summer of 1984, a merchandising blitz set off that kept up straight into the holiday season. Although some parents criticized the film for misrepresenting its family-friendly nature (granted it could have been a lot worse with an R-rated script originally turned in), many children around the world couldn’t get enough of the cute and affable Gizmo, wanting their own on Christmas day. Gizmo stuffed animals, action figures, even playing cards, became the gifts of 1984, and the Christmas-time commercialism of Gizmo cemented it as a must-watch for a generation of kids during the holiday season.

Just like Mariah Carey’s “All I Want for Christmas Is You,” Richard Curtis’ 2003 rom-com hit “Love Actually” earns a place among the timeless Christmas traditions in spite of its modern day time stamp (and scenes that didn’t age well). The ensemble film crisscrosses a multitude of storylines spanning from 10 Downing Street to the magical Wisconsin to a quaint French cottage, beginning and ending at London’s Heathrow Airport.

“Love Actually” contains several noteworthy moments of heartbreak (thank you, Emma Thompson) and delight (Hugh Grant’s David caroling with his body guard will bring a smile to even the coldest hearts), but it’s Billy Mack (Bill Nighy) who takes us on the most outrageous and emotional journey. As a rock legend forced to record a Christmas version of a 1960s top-10 hit, Billy canon let’s his wild child fly in radio interviews and television appearances.

For as much as Nighy, who won a BAFTA for his performance, delivers some of the film’s funniest scenes, it’s our final encounter with Billy that makes his story truly remarkable. After claiming the coveted Christmas number one, rather than partying at Elton John’s, Billy heads to the flat of his “chubby employee” to get pissed and watch porn. This relationship and Billy’s outpouring of love grounds the film beyond its at-time cloying messaging. Perhaps love actually is all around.

His name may be Billy Ray Valentine, but in the most tenuous of ways, the street hustler turned Wall Street broker finds himself in a sort-of-Christmas movie. The merry tidings of Christmas cheer aren’t exactly to be found in John Landis’ “Trading Places,” but it does take place over the holiday season so for our purposes, it counts.

The Christmas comedy follows Valentine (Eddie Murphy) and Louis Winthorpe III (Dan Aykroyd) who become unwitting pawns in a social experiment constructed out of the amusement of the Duke brothers (Ralph Bellamy and Don Ameche), the wealthy owners of a brokerage firm where Winthorpe is initially employed. The brothers wager between nature and nurture, destroying Winthorpe’s wealthy life and putting him out on the streets, while employing and housing Valentine. In the end, Winthorpe and Valentine get their back on the Dukes, and then some.

Although much of the humor in “Trading Places” would be considered outdated today, the film remains a cutting and clever film in large part due to Murphy’s performance. Only the comedian’s second film, Murphy’s comedic and dramatic talents explode out the gate standing keeping pace with (and arguably surpassing) Aykroyd, who by this point had already made a name for himself on “Saturday Night Live” and “The Blues Brothers.” Admittedly it’s not the most Christmassy of movies on this list, but for my money, a 1980s Eddie Murphy movie is a must-watch anytime of the year.

Who knew Santa Claus needed an origin story? Sergio Pablos, apparently.

Best known for creating the “Despicable Me” franchise, Pablos’ directorial debut, “Klaus” envisions how a bearded man hailing from a northerly, cold, and isolated village began making and delivering presents to the children around the world who wrote to him, with Jesper at the heart of the story.

Intent on teaching his spoiled son a lesson, Jesper’s father, the Royal Postmaster General, sends him to the remote town of Smeerenburg to complete his training at the postman training academy. Tasked with posting 6,000 letters in a year, Jesper goes around the town pleading with the residents to send letters, fearing that he will be cut off from his family’s fortune if he fails. Deciding to go out beyond town lines, Jesper encounters a woodsman named Klaus (voiced by J.K. Simmons) and accidentally leaves behind a drawing from one of the town children. Klaus, touched by the child’s sadness, secretly delivers one of his handmade toys in an attempt to lift his spirits.

As the events of “Klaus” unfold and we connect the dots between our traditional knowledge of Saint Nick and the film’s folktale, a humorous and affecting story emerges, elevated by the gorgeous hand-drawn animation. Jasper’s transformation from spoiled brat to a caring and generous man exemplifies the spirit of Christmas and easily makes this a soon-to-be classic.

After road tripping across America and taking in the sights of Europe, the third installment of the “Vacation” franchise sees the Griswolds staying put in Chicago and hosting a festive family vacation. As the head of the family, Chevy Chase’s Clark represents all parents who go the extra 10 miles to create lasting memories for their family. Whether it’s shorting out the entire city’s power supply to decorate the house properly or kidnapping your boss because he cancelled the Christmas bonuses, Clark’s extreme behavior is oddly (and amusingly) relatable.

Reportedly Chase was initially hesitant to play the bumbling Clark as the character deviated greatly to the cool-guy roles he’d previously portrayed. While Clark certainly changed public perception of Chase, it was all for the better. It’s the role most associated with Chase today, and one that will undoubtedly cross generations as ’80s-kids-turned-parents flip on “Christmas Vacation” to share in the mischievous and haphazard nonsense of the Griswolds every Christmas season.

Finding a fresh and unique spin on a story as time-worn as Santa Claus takes a bold vision — one that British writer and director Sarah Smith exhibits in “Arthur Christmas” and then some. Rather than retread the mythological element of a perpetually aged and jolly gentleman, “Arthur Christmas” considers the Clause family as a monarchy where the title of Santa is inherited. Contrasting the traditional practice of a gift-giving royal family, the Clauses have done away with the old fashioned sleigh and reindeer, opting instead for high-tech equipment to ensure the smooth operation on Christmas Eve.

Arthur (voiced by James McAvoy) is the younger son of the reigning Santa and works in the mail room. Where his clumsiness holds him back, his goodhearted nature and kind disposition makes up the deficit. After noticing his father and older brother missed a gift to a young girl in Cornwall, England, Arthur goes on his own mission to ensure the bicycle is delivered to her, in spite of his brother’s insistence that one gift lost is acceptable.

By mixing the new and the old, “Arthur Christmas” becomes a cross-generational holiday film that can begin new traditions. For kids, Arthur’s persistence serves as a life lesson in commitment, while adults should take heed of the indifference shown in the name of ambition.

Let’s get this out of the way: “Die Hard” is a Christmas movie, and not just because it takes place during Christmastime (even though the population at large and certain people on the /Film staff seem to disagree). A no-nonsense NYPD detective attends his estranged wife’s company party that gets terrorized by German radicals, and said NYPD detective saves the day via air vents and rooftops – if that’s not a Christmas miracle, I don’t know what is.

The heroics of John McClane are heightened to be sure, but he and the film still feel grounded due in large part to Bruce Willis’ portrayal of the grizzly detective. As a salt-of-the-earth kind of guy, McClane enlivens the belief in all of us that we, too, can be the saviors of our own stories, and we can do it while unloading quippy one-liners in the process.

For as storied a career as Willis amassed, McClane remains one of his most iconic characters that has endured for decades. He did save Christmas — or at least a Christmas party — after all.

As children, Christmas exudes magic. It’s a time of wonderment and joy when anything and everything seems possible, including a snowman coming to life. Based on the classic 1950 children’s song, co-directors Arthur Rankin Jr. and Jules Bass and writer Romeo Muller brought Frosty to the small screen in the 1969 CBS Christmas special, “Frosty the Snowman.” Through vivid animation, we navigate the emotional ups and downs with young Karen as she desperately tries to save Frosty from melting before he can reach the North Pole. 

Maybe it’s the fact that many of us watched this as kids when our imaginations were still pure and ripe, but there’s a matter-of-fact quality to Frosty coming alive with the addition of a top hat and the danger he’s in feels urgent and present. His fears becomes ours and in the same way, his joyous triumph becomes our own.

Yes, “Frosty the Snowman” is a television special and not truly a movie, but given Frosty’s legendary status among Christmas characters — not to mention that Santa clearly has his back — to leave him off based on a technicality would be downright disrespectful.

It’s not very Christmassy to begin a Christmas movie with the death of Santa, but the ’90s were a special time. After being the accidental cause of Santa’s demise, Scott Calvin (Tim Allen) dons the red suit left behind at the insistence of his young son, Charlie (Eric Lloyd), and delivers the rest of the gifts that Christmas Eve. Unbeknownst to him, Scott becomes legally bound to the North Pole, and really the world, and told by the head elf he must return on Thanksgiving the following year to resume his duties as Santa. Over the next 11 months, Scott slowly physically transitions into becoming Saint Nick and by next Christmas, he’s undoubtedly Santa in appearance and spirit.

There was a time in pop culture history when Tim Allen felt like everyone’s dad with thanks to his role on “Home Improvement” as the bungling Tim “The Toolman” Taylor, so much so that him becoming Santa Claus never felt out of step. His gentle and easygoing demeanor gave him the perfect temperament for millennials to feel comforted, and most of all, to believe that Santa could be real. Decades later, Allen’s Scott Calvin/Santa Claus prevails as one of the best Santa Clauses in film, and “The Santa Clause” will remain a mainstay for generations to come.

Considered to be one of the greatest animated films of all time, Henry Selick’s “The Nightmare Before Christmas” (as conceived by the one and only Tim Burton) becomes the Venn diagram of holiday movies combining the forces of a spooky Halloween and a heartwarming Christmas.

When Jack Skellington (voiced by Chris Sarandon in speaking parts and Danny Elfman when singing) grows dispirited with the daily routine of monsters and ghouls in Halloween Town, he finds himself fascinated with a new world he discovers called Christmas Town. Enamored with the traditions of this newfound town, Jack returns back to Halloween Town determined to take over Christmas duties this year and improve upon the holiday. Of course, in order to do so, Jack instructs the town’s mischievous trick-or-treating trio to kidnap Santa. Jack’s plan goes sideways as the children of the real world are terrified by his gifts. Order in the world eventually restores but not before Jack and Santa make amends and Santa spreads some of his magic to Halloween Town.

Typically, the success of “The Nightmare Before Christmas” is attributed to the stop-motion, not to mention the innovative influence of films like “The Cabinet of Dr. Caligari,” which lends the film its dark and fantastical tone and distinctive character renderings. While there’s no doubt that Selick’s film remains a feat of the form, the story of how the Christmas spirit won over the Pumpkin King for better and for worse remains the heart of its legacy.

Admittedly I’m not Will Ferrell’s biggest fan; his broad comedy turns just don’t tickle my funny bone. However the biggest exception is “Elf.” Acting against James Caan at his most Caanian (though he didn’t always keep a straight face), Ferrell’s outlandish silliness works perfectly in tandem. Buddy the Elf requires a degree of innocence and ignorance in order to work. How else can we believe that a fully grown man doesn’t see the difference between himself and those he grew up around? Ferrell is able to pull off that balance and inject Buddy with so much charm that we not only forget this transgression, we’re actively rooting for it.

“Elf” centers around baby Buddy, who accidentally climbs in Santa’s sack at an orphanage and grows up in the North Pole. As an adult, Buddy connects with his father, Walter (Caan) and attempts to build a relationship in spite of Walter’s reluctance. For all the sight gags and absurdity, the concept of family (the one you’re born with, and the one you make) stays at the forefront of the film, creating wholesome Christmas fare.

The story of Rudolph is one of acceptance, both by our own hand and by others. Born different to the other fawns with a glowing red nose, Rudolph’s peers mercilessly make fun of him while his parents attempt to cover up his nasal beacon with a fake nose. After a disastrous outing at the reindeer games, Rudolph meets Hermey, a misfit elf, and Yukon, a prospector. The three go off to have their own adventures, including escaping the Abominable Snow Monster. Through these rather extraordinary circumstances, Rudolph eventually discovers the benefits to his difference and those around him embrace it as well.

Released in 1964 by NBC, “Rudolph the Red-Nosed Reindeer” remains one of the most beloved Christmas traditions for families across the country. According to the network, the television special is the longest-running holiday special in TV history, speaking its distinctive standing during the holidays. With a beautiful message, lively music, and vivid stop motion visuals, it’s no wonder “Rudolph the Red-Nosed Reindeer” has stood the test of time.

The premise of “A Miracle on 34th Street” almost reads like a zany send-up of Christmas films: a man resembling Santa Claus gets hired to be a Macy’s Santa, only to be committed to a psychiatric hospital when it’s revealed that he actually believes himself to be Santa. Although the vast majority of the film takes place inside a court room, “A Miracle on 34th Street” gets to the crux of why we cherish Christmas celebrations as children — and what we lose as we age. Having a legal trial to decide the real-life existence of Santa doesn’t exactly inspire the same visual as chestnuts roasting on an open fire, but oddly, the end result is the same warming feeling.

As Kris Kringle, Edmund Gwenn embodies the safety and sincerity we grow up believing Santa to inhabit. A remarkable actor who made a name for himself on Broadway and in the West End, Gwenn’s mix of humor and reserved calm won him an Academy Award and Golden Globe for his portrayal of Kris Kringle. Many Santa Clauses have come and gone since 1947, and Gwenn’s remains the prototype.

Christmas movies typically feel big and grand, full of near mysticism. Bob Clark’s “A Christmas Story” offers an alternative take on the genre opting for a slice-of-life approach that creates an intimate and nostalgic Christmas tale, even for those of us not alive during the 1930s and 1940s.

Compromised of multiple vignettes around the Parker family during Christmastime, the central story of young Ralphie’s (Peter Billingsley) desire for an air rifle in spite of his well-deserved mother’s warnings holds a great degree of relatability to audiences across the country. Christmas morning quickly goes from disappointment to excitement when he discovers that his father has bought him his Christmas wish, only to learn the life lesson that, more often than not, mom’s usually right.

Although the author of the book the film is based on never intended for Ralphie to be a main character, it’s through him that we’re reminded of the Christmases spent with our families that may not have been particularly extraordinary to others, but for us, they’re the world.

How can you elevate a classic work of literature? Add the Muppets and Michael Caine, of course. Charles Dickens’ books will continue to inspire for centuries to come and we can only hope that those who interpret the author’s words will use the same creativity and heart Brian Henson drew from to create “The Muppet Christmas Carol.”

Narrated by Rizzo the Rat (Steve Whitmire) and the Great Gonzo (Dave Goelz) as Dickens, “The Muppet Christmas Carol” transports us to a Muppet-ified 19^th century London where we’re introduced to the abjectly miserable moneylender, Ebenezer Scrooge. As Scrooge, Caine turns in an expansive performance in keeping with his more “serious” films, which allows for audiences to truly embrace the transformation of the ol’git. From his bitter entrance, being scared out of his wits when being visited by the Ghosts of Christmas past to the thaw of his heart for the sake of Tiny Tim, Caine’s dramatic license cinches “The Muppet Christmas Carol” as the perfect initiation for young viewers to the world of Dickens.

Based on Dr. Seuss’ wildly successful children’s book, the “How the Grinch Stole Christmas!” animated TV special from 1966 remains a beloved entry in the Christmas watch line-up. While many versions of Dr. Seuss’ book exist, including a remarkable performance from Jim Carrey in the 2000 live-action film, the original adaptation still holds up as the most lyrical and poetic, in keeping with the source material.

Narrated and voiced by the legendary Boris Karloff, the sweet bass from the actor lends the surly green creature a sense of Shakespearean menace that flourishes particularly in contrast with the ending when his heart grows three times its size. Undoubtedly, the Grinch initially shows himself to be a deplorable character, but as with most of cinema’s great villains, there’s a reason for such behavior.

A poignant critique on the commercialization of Christmas (a sentiment that has only grown with time), the Grinch’s miserly attitude towards the holiday becomes more than justified. While the story shows the Grinch learning that for the people of Whoville, Christmas is more than just receiving gifts, the overarching narrative also serves as a reminder for all of us as to the true meaning of Christmas.

For millennials, “Home Alone” isn’t just a Christmas classic, it’s the Christmas classic. No other movie from our childhood contains the joy of the season quite like Kevin McCallister’s (Macaulay Culkin) ability to pick on pizza delivery boys, thwart a home robbery, and prepare an ice cream dinner. Every beat of the film plays in perfect harmony with each other, whether it’s the comedic gags and the thrill of watching Kevin set up the booby traps and the Wet Bandits falling prey to them, or the tender moments between Kevin and his family when they finally reunite.

Prior to “Home Alone,” Culkin starred in “Uncle Buck” with John Candy (who also has a small role in the holiday comedy) and established himself as an incredibly gifted child actor. Taking the lead as Kevin, Culkin dominates the film, appearing in almost every scene. Culkin’s child-like wonder mixed with the talent of someone beyond his years was lightning in a bottle. His performance as Kevin exploded his career in the ’90s and has continued to resonate with a generation decades later. The perfect Christmas movie and the perfect source of imagination to work alongside.

When “It’s A Wonderful Life” released in 1946, the film flopped at the box office falling short of break-even and although the Academy nominated it for five awards, including Best Picture, Frank Capra’s follow up to “Arsenic and Old Lace” seemed doomed to be forgotten. Perhaps because of this initial malaise towards the film, Republic Pictures neglected to renew the copyright on the film in 1974 after its initial term. As a result, the film fell into the public domain and was repeatedly broadcast, royalty-free, across America until the ’90s when Republic (now Paramount Pictures) regained the rights. Through these repeated viewings year after year, the story of George Bailey became synonymous with cinematic Christmas tidings, a tradition that persists today (albeit, only on NBC).

Though not an exact adaptation, “It’s A Wonderful Life” follows a similar narrative to Charles Dickens’ “A Christmas Carol” — just with much darker and more somber themes. James Stewart, the Golden Age’s everyman, portrays George, a man frustrated and pushed to his wits end, with such compassion and empathy, we feel deeply and viscerally for him in his time of need. In contrast, when George sees the light and discovers a reinstated appreciation and importance in his life, Stewart grants the broken man with an unencumbered bliss so euphoric that we truly believe, that “every time a bell rings, an angel gets his wings.”