Movie review
August 4, 2017 · 104 min · R
Woke Score
Lower is better
Breakdown
These are the editorial factors and ratings behind our score for A Bad Moms Christmas.
Woke representation / casting
The lead "bad moms" and their mothers are played by white actresses in a story about suburban American families and holiday traditions. Supporting roles include some actors of color in small, non-central parts without any visible emphasis on diversity, quotas, or identity signaling in prominent positions.
Woke political dialogue
The script relies on crude sexual jokes, swearing, drinking, and comedic venting about family and holiday stress. It contains no activist language, political lectures, identity terminology, or ideological messaging.
Identity-driven story themes
The core premise and arcs deal with motherhood burnout, pressure to perform perfect holidays, mother-daughter resentments, and the value of authentic family connections and female friendship. These play out as personal, raunchy comedy rather than modern identity politics, race, gender ideology, or systemic critiques.
Review
A Bad Moms Christmas is a 2017 R-rated comedy sequel. Three overburdened suburban mothers rebel against the extreme expectations of creating a perfect Christmas while also hosting their own difficult mothers for the holidays. The story follows their drunken antics, family fights, and eventual reconciliations that emphasize real family bonds and self-acceptance over perfection. The film shows no noticeable woke, identity-driven, or activist elements in its premise, casting, dialogue, or marketing, which stay focused on personal motherhood stresses and broad holiday comedy.
Western institutional / cultural critique
The film lightly mocks commercial excess and unrealistic "perfect mom" expectations around Christmas in a comedic suburban setting. It ends by affirming family effort, reconciliation, and togetherness with no activist reframing of patriarchy, capitalism, Western norms, or institutions.
Woke character or canon changes
Not relevant. This is an original story and set of characters with no source material, historical figures, or established canon being reinterpreted through identity or DEI lenses.
Anti-woke backlash and complaints
There are no notable anti-woke or right-leaning complaints in reviews, news, or social media that accuse the film of advancing woke, DEI, representation-first, or left-wing political content. Public discussion stayed on humor, raunch, and entertainment value.
Creator track record context
Writers/directors Jon Lucas and Scott Moore have a long record of irreverent, audience-focused comedies like The Hangover with no activist pattern. Producer Suzanne Todd has repeatedly backed female-led stories and women's experiences, including queer-themed work, indicating moderate classical liberal feminist leanings in her broader output alongside commercial projects.
Production
