Un gruppo di studenti viene perseguitato da uno sconosciuto durante le vacanze di Natale. Un remake del film horror del 1974 "Black Christmas".Un gruppo di studenti viene perseguitato da uno sconosciuto durante le vacanze di Natale. Un remake del film horror del 1974 "Black Christmas".Un gruppo di studenti viene perseguitato da uno sconosciuto durante le vacanze di Natale. Un remake del film horror del 1974 "Black Christmas".
Zoë Robins
- Oona
- (as Zoe Robins)
Holiday Horrors to Stream This Season
Holiday Horrors to Stream This Season
Whether you're in need a break from holiday cheer, or just a fan of all that is dark and spooky, here are some holiday horrors you can stream at home this season.
Trama
Lo sapevi?
- QuizUniversal Studios/Blumhouse received a backlash after the first trailer was released for the film due to the extreme amount of spoilers within it.
- BlooperWhen hiding in the cleaning closet upstairs, Riley breaks a mop to improvise a weapon from the handle. There obviously were two different filming sessions for her going down the stairs because the broken end of the mop handle changes. When filmed slightly below her (slightly looking up at her) the broken end of the mop handle is more blunt. But when filmed above her from behind (looking down at her) the broken end of the mop handle is more elongated, more pointed, and threatening.
- Curiosità sui creditiMID-CREDITS SCENE: Partway through the credits, there is a scene where Claudette the cat is licking the black substance bleeding from one of the pledges, and then she looks up at the camera.
- Versioni alternativeThe original R-rated version of this film ran 111 minutes, before being edited down to a 92 minutes long PG-13 version released in theaters.
- ConnessioniFeatured in Chris Stuckmann Movie Reviews: Black Christmas (2020)
- Colonne sonoreChristmas to New Years
Written by Gene Mumford, Raymond 'Pee Wee' Barnes, Alden 'Allen' Bunn, Thermon Ruth, David McNeil
Performed by The Larks
Courtesy of Document Records
By arrangement with Fine Gold Music
Recensione in evidenza
No one was expecting a remake of Black Christmas, nor was anyone asking for it, so its announcement in June felt sudden. What kind of interest can there be in the cult proto-slasher of 1974? Especially after the notorious 2006 remake, which many still either recall as a nightmare or consider it an unintentional comedy because of its torture porn elements, plot holes, and ridiculous killers. However...
The rights to the concept were bought by Blumhouse with director Sophia Takal and screenwriter April Wolfe to helm the newest incarnation. Takal had previously shot some lazy indie thriller about mean-spirited female friendship and a full-length episode of the anthology series Into the Dark... also about mean-spirited female friendship. And with New Year's entourage. Perhaps, everything starts there. The two saw the opportunity to depict all of their modern ideas, only with some snow and toothless screamers.
Don't try to find any tributes to the original besides a gender-swapped sorority house cat (in 1974, we had Claude, now we have Claudette) and an attempt to strangle one of the villains with polyethylene. Instead, there's a group of stereotypical modern college girls, one of whom, Riley (Imogen Poots), suffers from emotional trauma after being raped by one of the frat bros (Ryan McIntire), who escaped the punishment and even dared to return to the college grounds. But the girls have worse problems: the most obnoxious student, Chris (Aleyse Shannon), demands the dismissal of one of the old-school professors for his boomer-ish way of teaching. While Professor Gelson (Cary Elwes) is trolling the Twitter suffragists by quoting Camille Paglia, female students begin to disappear. At first, nobody cares about the off-key acting blonde girl from literally every trailer and promo (Lucy Curry), but the further disappearances begin to slowly alarm. The campus police shrugs and isn't eager to do anything (another clumsy curtsy to the original), so Riley begins her own investigation.
With the subtlety of a jackhammer, Takal and Wolfe eagerly expose the cult of toxic masculinity, and every man is either evil or stupid. Armored with the tenets of Judith Butler, Gloria Steinem and many other founding mothers of women's studies, the duo weaponizes their liberal arts degrees but quickly finds itself cornered by their own ambition, unable to materialize timely messages, so they resort to supernatural gimmicks, where "toxicity" becomes literal. No Billy, no Agnes, no real freedom from male opinion. Somewhere in 1974, Jess Bradford sighs heavily while firmly announcing to her boyfriend the decision to have an abortion. Turns out that women's rights aren't about freedom of choice, but about driving away the "white men science" from universities.
Black Christmas doesn't want to be a horror movie. In fact, it doesn't want to be a film. But it wants to be an essay, wrapped in Christmas lights in a hypocritical attempt to capitalize on a familiar title. An essay, albeit with a budget of $5KK, is not capable of being exciting and thrilling. Even in others negative reviews, only Imogen Poots is rightfully praised, but she is underutilized by the writers, who didn't care to give her character a decent development. Cary Elves wasn't told this isn't another Saw movie, and something like "game over" is always about to burst from his perpetually menacing grin.
The film is mostly praised for showing certain socially disturbing topics familiar to many upper-middle class millenials. Campus abuse and rape culture were highlighted in The Hunting Ground, and the pointless gory gender violence was shown in epic Assassination Nation. What do we get in Black Christmas? The fear of walking down the street alone at night, the keys clutched in a shaking fist, and the annoyance with "not all men".
Black Christmas is a boring, bloodless, cheap-looking thriller that dramatically lacks appreciation for the genre, opting instead to radicalize the audience without a single care for the horror fans. Unlike the first two films, this one won't be fondly remembered in decades to come. A famous Russian actress Faina Ranevskaya is quoted as saying, "Making a bad movie is like spitting in the eternity." That's exactly what Takal and Wolfe did.
The rights to the concept were bought by Blumhouse with director Sophia Takal and screenwriter April Wolfe to helm the newest incarnation. Takal had previously shot some lazy indie thriller about mean-spirited female friendship and a full-length episode of the anthology series Into the Dark... also about mean-spirited female friendship. And with New Year's entourage. Perhaps, everything starts there. The two saw the opportunity to depict all of their modern ideas, only with some snow and toothless screamers.
Don't try to find any tributes to the original besides a gender-swapped sorority house cat (in 1974, we had Claude, now we have Claudette) and an attempt to strangle one of the villains with polyethylene. Instead, there's a group of stereotypical modern college girls, one of whom, Riley (Imogen Poots), suffers from emotional trauma after being raped by one of the frat bros (Ryan McIntire), who escaped the punishment and even dared to return to the college grounds. But the girls have worse problems: the most obnoxious student, Chris (Aleyse Shannon), demands the dismissal of one of the old-school professors for his boomer-ish way of teaching. While Professor Gelson (Cary Elwes) is trolling the Twitter suffragists by quoting Camille Paglia, female students begin to disappear. At first, nobody cares about the off-key acting blonde girl from literally every trailer and promo (Lucy Curry), but the further disappearances begin to slowly alarm. The campus police shrugs and isn't eager to do anything (another clumsy curtsy to the original), so Riley begins her own investigation.
With the subtlety of a jackhammer, Takal and Wolfe eagerly expose the cult of toxic masculinity, and every man is either evil or stupid. Armored with the tenets of Judith Butler, Gloria Steinem and many other founding mothers of women's studies, the duo weaponizes their liberal arts degrees but quickly finds itself cornered by their own ambition, unable to materialize timely messages, so they resort to supernatural gimmicks, where "toxicity" becomes literal. No Billy, no Agnes, no real freedom from male opinion. Somewhere in 1974, Jess Bradford sighs heavily while firmly announcing to her boyfriend the decision to have an abortion. Turns out that women's rights aren't about freedom of choice, but about driving away the "white men science" from universities.
Black Christmas doesn't want to be a horror movie. In fact, it doesn't want to be a film. But it wants to be an essay, wrapped in Christmas lights in a hypocritical attempt to capitalize on a familiar title. An essay, albeit with a budget of $5KK, is not capable of being exciting and thrilling. Even in others negative reviews, only Imogen Poots is rightfully praised, but she is underutilized by the writers, who didn't care to give her character a decent development. Cary Elves wasn't told this isn't another Saw movie, and something like "game over" is always about to burst from his perpetually menacing grin.
The film is mostly praised for showing certain socially disturbing topics familiar to many upper-middle class millenials. Campus abuse and rape culture were highlighted in The Hunting Ground, and the pointless gory gender violence was shown in epic Assassination Nation. What do we get in Black Christmas? The fear of walking down the street alone at night, the keys clutched in a shaking fist, and the annoyance with "not all men".
Black Christmas is a boring, bloodless, cheap-looking thriller that dramatically lacks appreciation for the genre, opting instead to radicalize the audience without a single care for the horror fans. Unlike the first two films, this one won't be fondly remembered in decades to come. A famous Russian actress Faina Ranevskaya is quoted as saying, "Making a bad movie is like spitting in the eternity." That's exactly what Takal and Wolfe did.
- IzzyMaeDoorite
- 19 dic 2019
- Permalink
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Dettagli
- Data di uscita
- Paesi di origine
- Siti ufficiali
- Lingua
- Celebre anche come
- Negra navidad
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 5.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 10.429.730 USD
- Fine settimana di apertura Stati Uniti e Canada
- 4.240.245 USD
- 15 dic 2019
- Lordo in tutto il mondo
- 18.529.730 USD
- Tempo di esecuzione1 ora 32 minuti
- Colore
- Proporzioni
- 2.39 : 1
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