Any actual horror is avoided with the camera work, and plays as a child’s version of what Black Christmas should be
If the point has been reached, in 2019, when believing that a film suggesting a rape victim who hasn’t been listened to by anyone, including the authority, needs a revenge trip against a horde of magically controlled alpha males is a good idea, then the drawing board isn’t anywhere near the point the creators need to reach back to.
About to embark on her Christmas break, Riley (Imogen Poots), a sorority sister in the midst of her college finals, is still recovering from a harrowing event she experienced the year prior. Determined to fight away the shame she feels, Riley embarrasses those who helped fuel the woman hatred on campus. However, after her friends start to disappear, Riley begins to question whether her actions were too much.
With no real story, endless fake suspense and a reveal literally everyone could predict (because it’s included in the trailer), Black Christmas becomes a non-entity horror with no force driving it forward. The motive of the evil beings is essentially pointless, and the reason behind what is turning the killers cold, is frankly, pure garbage. It isn’t scary in any sense, there’s an extreme lack of fear spewing from the villains, and that leaves the women’s actual fear feeling hollow and needless.
The writing is typically trash, like a soap opera or a horror of this nature often is, with blatant set ups and obviously fake dialogue leading the story in the way it clearly needed to go. Any actual horror is avoided with the camera work, and plays as a child’s version of what Black Christmas should be. The suspense is empty, and genuinely, so is everything else in this needless piece of Christmas film making.
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