Directed by Sophia Takal
Written by Sophia Takal and April Wolfe
Starring Imogen Poots, Aleyse Shannon, Lily Donoghue and Cary Elwes
Running time: 1 hour and 32 minutes
MPAA Rating: PG-13 for violence, terror, thematic content involving sexual assault, language, sexual material and drinking

by Rosalie Kicks, Old Sport

Sophia Takal and April Wolfe’s rendition of the well known holiday horror Black Christmas may not find itself in my top ten flicks of the year list, but it also isn’t gonna find itself among the worst.

This is a movie that is not out to make any friends. It would rather you became an ally. It is a film that is not afraid to speak its mind and inevitably hopes to remind those watching that they shouldn’t be either. Black Christmas is more than just its message though. The methods and stylistic choices it makes to deliver these ideas are what makes it poignant and damn right appropriate for this particular time we all find ourselves living in.

Unfortunately, from the moment the first inkling of news hit the streets that the holiday horror classic, Black Christmas would once again be remade ( there is a 1974 and 2006 version) it seemed that people already made up their minds to hate it. Visit the IMDb trivia page or the comments section if you don’t believe me. When the trailer dropped and it was confirmed as PG-13 picture, people lost their marbles. It was as if Takal and Wolfe just murdered a bunch of puppies under the pale moonlight and drank their virgin blood. It is unfortunate that our society seems to be programmed to show such negativity regarding the capabilities of women, particularly in the world of filmmaking. To dismiss a film before it even graces their eyes is really quite a skill and begs the question if there are more folks with mystical powers than I was aware.

Despite what you may have heard, I found the ladies paid respect to the original with some rather clever nods. In their version of Black Christmas several elements of the original remain such as, the sorority house, the camaraderie of sisterhood, the unicorn, a cat (except this time, appropriately a female cat named Claudette), a possible stalker and the slasher element. From there, the story goes in a whole new, bonkers-in the best way possible direction. Ultimately I found their version to give new life and relevance to what already had been a great feminist flick. With the addition of a misogynist fraternity cult headed up by a sexist Hawthorne College Professor (Cary Elwes), the affects of campus rape culture at the forefront and the theme that women are on the constant defense of justifying themselves - this tale is downright frightening. Even more so, as it is an actual depiction of the nightmare of living as a woman within a society whose past only leads back to inequality.

It should be noted that prior to hearing of the production of this movie I did not have a close connection to the 1974 Black Christmas directed by Bob Clark (A Christmas Story, Baby Geniuses, Porky’s… this guy’s filmography is WILD). Having watched the ‘74 version about two weeks ago, I clearly saw what all the fuss was about. I found it to be one of the most unsettling and bleakest films I have ever seen. The tale of a sorority being stalked and terrorized by obscene phone calls on Christmas Eve by an unknown assailant was more than enough to give me the creeps. However, what has stuck with me since viewing the film was the story of the women. I was not expecting to have as much interest in the story as I did. I had been under the impression it was simply just another slasher flick. Instead, I was delighted to see not only strong female characters but characters that had personality, thought and were more than just a “pretty face”.

I feel that in Clark’s film, you get a taste of women’s liberation, especially during the scene when Jess (Olivia Hussey) tells her boyfriend Peter (Keir Dullea) off.

“Do you remember when we first met? You told me about your wanting to be a concert pianist. How it was your greatest dream. And I told you about some of the things I wanted to do. I still wanna do those things. You can't ask me to drop everything I've been working for and give up all MY ambitions because your plans have changed. Be realistic. I can't marry you.”

This scene pleased and also pleasantly surprised me. I was not expecting such a heavy message to be carried in a film such as this. I quickly remembered though that the horror genre has often been utilized in the past to deliver thought provoking ideas (ie Night of the Living Dead or They Live). The 1974 I have not seen the 2006 one, sorry) Black Christmas puts people on notice. Women were not just a mere carrier of the next generation, they had minds too and wanted to use them. Similarly, I could say the same about the Takal/Wolfe depiction. Only this time, the women were past the point of giving any Fs. I’d like to think they are onto the next step in the process of emancipation.

This is a story about not asking for permission or waiting for when the time is right. The time is now and the only one that can help you, is you. Men have had their place in the sun long enough and for us to move forward to a world of equality, it will require the commitment from all. Which means it is important to recognize that not everyone (including some white men) is an enemy. But remember, when things get tough, you can always count on your sisters to have your back.

PS. The snow angel - this part was the absolute best scene in a horror that I have seen in a long time.