Black Christmas (2019) Review: White feminism is Scary


The latest horror remake is Blamehouse Black, based on Bob Clarke’s 1974 slasher film, in which similar sisters are killed and killed. The original film was already remade in 2006 by Glen Morgan, which changed a lot about the original story, even if the original premise remained the same. Now, a new take on Black Christmas comes from Blumhouse in time for the 2019 holiday season. Black Christmas is a nice slash flick with the trite Feminist theme until it takes a wildly shocking twist and becomes a completely different film.

Black Christmas follows Hawthorne College’s sister Sister Riley (Imogen Poots), who lives on campus with some of her sisters as it begins to evacuate for winter vacation. At a fraternity party, she must confront the man who raped Roof and her three years ago, as Riley’s sister Chris (Alessay Shannon) urges her to get stronger and fight back. Meanwhile, Chris is petitioning to remove Professor Jelson (Carrie Elwes) and was previously successful in removing Calvin Hawthorne’s hustle from his premises.

Black Christmas

All the while, the sisters are disappearing from her and other sorcery. It all comes to a head when Riley, Chris, their sisters Marty (Lily Donghe), and Jessie (Brittany O’Grady) are attacked by a masked killer in their house. To defeat the murderer, Riley, her sisters, and other grief-stricken women must join forces and fight back.

Black Christmas pirates are effective in the suspense of their characters who crawl around a house with a killer. But the majority of the film is horrifying and stems from horrific murders, brutally edited, which are at least as effective and, at best unrealistic and untrue. Black Christmas is neither as clever nor as scary as it wants to be, falling into the realm of just plain-bad horror films. While some victories can be felt in watching a band of women together and rise against the men harassing them, Black Christmas takes a lot of time to reach that point – and it quickly spreads.


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