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Black Christmas (2006)
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Reviews Counted:54
Fresh:9
Rotten:45
Average Rating:3.4/10
Consensus: A gratuitous remake of the 1974 slasher, Black Christmas pumps out the gore and blood with zero creativity, humor, or visual flair.
Rated: 15 [See Full Rating] for strong horror violence and gore, sexuality, nudity and language.
Runtime: 1 hr 40 mins
Genre: Horror/Suspense
Theatrical Release:15-12-2006
Synopsis: Though it was only a mild success upon its release in 1974, the original BLACK CHRISTMAS (directed by Bob Clark, who would go on to direct A CHRISTMAS STORY in 1984) has become a cult favorite... Though it was only a mild success upon its release in 1974, the original BLACK CHRISTMAS (directed by Bob Clark, who would go on to direct A CHRISTMAS STORY in 1984) has become a cult favorite among horror buffs since the dawn of the home-video era. An early example of the "body count" genre, the film also predates WHEN A STRANGER CALLS (1979) in its use of a killer making threatening phone calls that originate within his potential victims' own house. In this remake, writer/director Glen Morgan takes the basics of Roy Moore's screenplay for the original to create an elaborate and almost comically disturbing back story for Billy, the killer who previously remained a mystery. A handful of sorority girls remain at the house after the school shuts down for Christmas break. An ominous snowstorm blows in, isolating them. At the same time, a killer--who in this version escapes from a mental institution to return to his former family home--breaks into the attic and begins making terrifying phone calls to the girls (led by Kate Cassidy, Michelle Trachtenberg, and Lacey Chabert) before killing them off one by one. SCTV veteran Andrea Martin, who portrayed a victim in the original, returns as Ms. Mac, the house mother. Stylistically, Moore's remake avoids casting the film in the ironic post-SCREAM or streamlined, gore-free Japanese-horror-inspired fright films of the late 1990s and early 2000s. Instead he makes BLACK CHRISTMAS in the style of a wet and red '80s slasher film. The plentiful blood and guts will please fans of that era, as will tributes to the HALLOWEEN films. This, along with a soundtrack that eschews holiday standards in favor of modern pop music, plus a dim lighting scheme that relies heavily on colored Christmas bulbs, combine to create an atmosphere of holiday dread in this fun update of what has become a horror classic. [More]
Starring: Michelle Trachtenberg, Mary Elizabeth Winstead, Katie Cassidy, Oliver Hudson
Starring: Michelle Trachtenberg, Mary Elizabeth Winstead, Katie Cassidy, Oliver Hudson, Andrea Martin, Kristen Cloke
Director: Glen Morgan
Director: Glen Morgan
Screenwriter: Glen Morgan, Roy Moore
Producer: James Wong, Glen Morgan, Marty Adelstein, Victor Solnicki, Steve Hoban
Composer: Shirley Walker
Studio: Weinstein Company
Reviews for Black Christmas
It's hard to get worked up over the fate of characters whose identities remain largely a matter of conjecture.
Glen Morgan's update of Bob Clark's 1974 slasher flick Black Christmas is an exemplar of how to screw up a modern horror film remake.
Katie Cassidy, Michelle Trachtenberg, Mary Elizabeth Winstead, and Lacey Chabert are pretty, but by not humanizing them, Morgan places viewers in his killer's perspective.
Black Christmas lacks the timing and visual wit to make its splattery EC Comics gags either genuinely scary or funny.
Just another slasher flick that stopped off at the theater on its way to the $5.50 dump bin at Wal-Mart.
Director Glen Morgan has a nice pictorial sense and a flair for ghoulish caricature, but the film is muddled and choppy.
Unfortunately for those hoping for shower scenes and other R-rated shenanigans, there's only one and it's pretty lame.
A surprisingly memorable creepfest that fleshes out the characters' backstories while adding a heaping helping of blacker-than-pitch humor to the proceedings.
Creativity is a stranger to this sick excuse for entertainment, which pounds a ridiculous back story into a butchered rehash that includes incest, cannibalism, eyeball gouging and impossibly dumb plot contrivances.
It also exchanges the police subplot that gave the earlier film its steady pace for a lot of pointless backstory about the mother-fixated stalker.
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