Scrooged is that rarest of contemporary Hollywood phenomena -- a Christmas movie with Christmas spirit. [23 Nov 1988, p.21]

The film works very well, providing lots of laughs, in its first half, setting up the Bill Murray character and his callousness. For a Christmas Eve special he wants to staple antlers on a mouse. [25 Nov 1988, p.A]

Scrooged doesn't pack the wallop of "A Christmas Carol" - you won't cry or walk out resolving to become a better person - but it's a funny and imaginative high-class effort. Best of all, it stars Bill Murray, who has only to raise an eyebrow to get laughs. [23 Nov 1988, p.E1]

This is not a "good movie" -- in fact, it's a sprawling mess -- but I like it. And I mean that sincerely, you knucklehead.

Murray doing what he does best, if you like that sort of thing.

Scrooged works in fits and starts. The mundane demands of the sentimental story keep interrupting what are, essentially, revue sketches, a few of which are hilarious.

Neither Scrooged nor Murray, who is front and center throughout, is particularly funny.

Scrooged is so monumental a mess that even rabid Bill Murray fans - the ones who'll stand in line to see it despite critics' inevitable bashings - will wonder how it went so wrong. [23 Nov 1988, p. 9D]

Scrooged is one of the most disquieting, unsettling films to come along in quite some time. It was obviously intended as a comedy, but there is little comic about it, and indeed the movie's overriding emotions seem to be pain and anger.

In Scrooged, a sub-Saturday Night Live re-make parody of Charles Dickens' A Christmas Carol, Ghostbuster Bill Murray busts up two of the festive ghosts (Christmas Past and Future) and mugs more than Mr. Magoo. [24 Nov 1988, p.C19]

Actually it's not a bad notion for a satiric comedy and this one begins well, but then veers entirely out of hand until it's as over-inflated as its own Ghost of Christmas Yet to Come and as funny as a mugging. [23 Nov 1988, p.1]

Irony is the movie's escape hatch. It allows the filmmakers to stage maudlin bits and, at the same time, signal the audience that they're too cool to actually believe in them. Their cool is all-purpose, and it carries with it a note of genuine nastiness. They manipulate us into a sentimental response, then kick us in the teeth for buying it.

Tacky in the extreme, this self-congratulatory 1988 film is an exercise in hypocrisy, indulging every form of Christmas exploitation that it pretends to attack, and many of the laughs are forced.