"This Christmas" Soundtrack Lyrics

“This Christmas — Songs from the Motion Picture” – Album Guide to Tracks and Key Scenes

Review

What happens when a family reunion doubles as a jukebox? Preston A. Whitmore II’s This Christmas answers with a soundtrack that lets arguments breathe and reconciliations soar. R&B staples, vintage soul and church-side standards move through the Whitfield home like relatives—some loud, some tender, all familiar.

The film’s music strategy is simple and effective: let the songs carry subtext. Marcus Miller’s score stitches between scenes while crate-digger picks—Marvin Gaye, Aretha Franklin, Luther Vandross—do the emotional heavy lifting. And then there’s Chris Brown, cast as the youngest sibling, who steps into diegetic performances that double as character reveals: a shy kid turns spotlight-ready, and the room changes with him.

Genre phases map cleanly to theme: classic soul and Motown—steadfast love and generational memory; contemporary R&B—present-tense romance and swagger; gospel/holiday standards—healing, forgiveness, community. By the church finale, you feel the arc: chaos to chorus.

How It Was Made

Composer/bassist Marcus Miller provides the score, weaving understated grooves around licensed heavyweights. Music supervision was handled on the album side by Spring Aspers, with supervision credits on the film including Pilar McCurry—reflecting a package that mixes catalog jewels with a few fresh performances (notably two by Chris Brown). The soundtrack album arrived via Jive/Zomba the same week as the film’s U.S. release.

Tracks & Scenes

“Try a Little Tenderness” (Chris Brown)

Where it plays:

At a nightclub, the siblings watch “Baby” surprise everyone by belting this Otis Redding classic. The camera lingers on stunned faces and proud smiles as the band locks in. Mid-film, ~45–55 minutes. Diegetic (on stage).

Why it matters:

It’s the reveal of Baby’s real ambition and a rare moment of family unity through music; a pivot from teasing kid brother to bona fide performer.

“This Christmas” (Chris Brown)

Where it plays:

Church near the end (~1h45m). The Whitfields pack the pews as Baby leads the congregation; handheld shots glide over teary faces, a soft pan to Ma’Dere as pride replaces worry. Diegetic (live performance).

Why it matters:

Title-song catharsis—reconciliation lands not with dialogue but with a communal sing that resets the house for a new year.

“Got to Give It Up, Pt. 1” (Marvin Gaye)

Where it plays:

End-credits Soul Train-style line. Cast members freestyle down the middle, the camera matching the groove. Final minutes (post-1h55m). Non-diegetic into on-screen dancing.

Why it matters:

Holiday movie tradition: send everyone out smiling. The dance-line seals the family’s détente and gives the soundtrack one more joyous flex.

“I Never Loved a Man (The Way I Love You)” (Aretha Franklin)

Where it plays:

During Lisa’s rainy reckoning with Malcolm’s SUV—she drives it off and the scene swells with Aretha’s ache. Torrential downpour; confrontation, release, then silence. Late-film (~1h20–1h35m). Non-diegetic.

Why it matters:

Aretha’s plea reframes a comic-revenge beat as a self-respect break—hurt, anger, and clarity in three minutes.

“Santa Baby” (Lina)

Where it plays:

Early film, as the house readies for the holidays—kitchen clatter, wrapping paper rustle, lights going up. Non-diegetic, front-loaded (~0:05–0:15).

Why it matters:

Sets a flirty, lively holiday tone before the heavier family business arrives.

“Sleigh Ride” (TLC)

Where it plays:

Plays at the end, tying a bow on post-church joy and pre-credits dance energy. Non-diegetic.

Why it matters:

’90s R&B sparkle as epilogue—nostalgia without sappiness.

“Have Yourself a Merry Little Christmas” (Luther Vandross)

Where it plays:

Heard as a quiet interlude underscoring family togetherness near the finale. Non-diegetic, brief.

Why it matters:

Classic croon = grown-up tenderness; a breather before the credits boogie.

“O Holy Night” (Denetria Champ) & “Silent Night” (Boney James feat. Anthony Hamilton)

Where it plays:

Woven through the film’s church and evening sequences; reverent overlays that ground the movie’s faith notes. Non-diegetic, short cues.

Why it matters:

Gospel warmth gives the home its center—tradition as heartbeat.

Notes & Trivia

• Marcus Miller’s understated score plays connective tissue between needle-drops; he’s credited as the film’s composer.
• The soundtrack album bundles classics (Aretha, Marvin Gaye) with new-for-the-film vocals by Chris Brown and Jordin Sparks.
• The end-credits Soul Train line to Marvin Gaye became a fan-shared clip every December.
• Album issued by Jive/Zomba; the film was a Screen Gems (Sony) release.
• Setting spills into soundtrack: the Los Angeles River set-piece is scored pointedly with Aretha Franklin.

Reception & Quotes

Critics were mixed on the film but generally warm on the vibe; the album’s curation made seasonal playlists quickly. Contemporary reviews noted the familiarity of some holiday cuts but praised the energy of the performances.

“Strong performances and a sharp portrayal of family dynamics, but relies too heavily on holiday movie clichés.” Rotten Tomatoes – Critics’ Consensus

“A varied, radio-ready companion that leans classic without losing contemporary sheen.” San Francisco Chronicle (album review)

“Brown’s church rendition of ‘This Christmas’ lands as payoff, not stunt.” Album capsules & fan consensus

Interesting Facts

• Title lineage: The film takes its name from Donny Hathaway’s 1970 classic; Brown’s cover re-introduced it to a new generation.
• Catalog clout: The album pulls across labels/artists—licensing that shows off deep Sony/Zomba connections.
• Club reveal: The club scene works diegetically and die-romantically: siblings become fans; the family relaxes for once.
• Credits party: That Soul Train line is why the aisle stayed full as the credits rolled.
• Holiday rotation: Several album cuts return annually to radio/streaming mixes, keeping the film in circulation.

Technical Info

• Type: Songs from Motion Picture (various-artists compilation + score cues)
• Title: This Christmas — Songs from the Motion Picture
• Year: 2007 (album released Nov 20, 2007)
• Film: This Christmas (2007), dir. Preston A. Whitmore II
• Composer (score): Marcus Miller
• Music supervision (album/film): Spring Aspers; Pilar McCurry
• Label: Jive Records / Zomba Recording LLC
• Selected notable placements: “Try a Little Tenderness” (club reveal); “This Christmas” (church finale); “I Never Loved a Man” (rain/SUV sequence); “Got to Give It Up, Pt. 1” (end-credits dance line)
• Release context: U.S. theatrical Nov 21, 2007; album streeted same week
• Availability: Streaming (Apple Music/Spotify), digital retail; original CD release (Jive)

Questions & Answers

Is Chris Brown actually singing in the movie?

Yes. He performs “Try a Little Tenderness” in-scene and leads “This Christmas” at the church finale.

What song plays during the end-credits dance?

Marvin Gaye’s “Got to Give It Up, Pt. 1,” backing a Soul Train-style family dance line.

Which track scores the rain-soaked SUV moment?

Aretha Franklin’s “I Never Loved a Man (The Way I Love You).” It reframes the scene from gag to emancipation.

Who composed the original score?

Marcus Miller, keeping it warm and tasteful between the big needle-drops.

Is there an official soundtrack album?

Yes—This Christmas: Songs from the Motion Picture, released by Jive/Zomba with 14 tracks spanning soul, R&B and holiday standards.

Key Contributors

Sources: Wikipedia; IMDb Soundtracks; Apple Music; Spotify; MovieMusic.com; San Francisco Chronicle (SFGate); Rotten Tomatoes; MoviesOST; SBIFF blog.

November, 29th 2025