I was recently talking with a friend of mine about the correlation of Christmas time, depression and even suicide. The Holidays are a hard time for some folks. The pressures of the perfect gift starting to settling in but bills don’t stop calling. Maybe you don’t always get along with your family. Christmas is supposed to be the time of year to be civil towards one another. It’s this societal norm for goodwill towards all men. For some relationships, that’s hard. There may have been some damage done to the individuals that needs repair or healing. Some Christmas tinsel isn’t going to heal that overnight. It’s a growing process. For some individuals, they don’t have family to turn to. They look around at everyone else this time a year with siblings, parents, children, spouses or significant others and can’t help but feel isolated.

Traditionally, Christmas is supposed to be this superiorly happy holiday. Though, in reality, it doesn’t always work out that for some people. That was one of many things that made 1974’s Black Christmas so revolutionary. It dared to take this joyous occasion and juxtapose it to this seriously dark fear for many people. Even now, 45 years after its release, its’ a cornerstone of the horror genre. Much like its source material of terrorizing sorority sisters it has ascertained a legacy of its own. So much so that we are now talking about its second remake. This time around, the film follows Riley (Imogen Poots) and her sorority sisters as they have to escape the clutches of black magic within a fraternity who are slaughtering sororities. In some ways, this film feels like a beautiful reinvention of the source material’s formula. Keeping with the perimeters of what made the 1974 version so shocking. Yet, made its 2006 sister a poor excuse of a film.

One of the reasons that the first film was so shocking, even watching it today, was the way in which it handled violence. Director, Bob Clark, always managed to hint at the violence being done without actually showing it. Even if he did dare to show it, it was always set against something more joyous and colorful – creating a haunting and lasting juxtaposition that stayed with the viewer. While its two predecessors’, both hit that R-Rating, this version of Black Christmas feels like a return to form – even in its PG-13 rating. The way in which co-writer and director, Sophia Takal, handles violence within this film carries with it a sense of beauty, legacy and honor. This version of Black Christmas brilliantly reinvents the lore but manages to pay respect to what has come before it. With that, Takal is a master of her craft.

When you have a name like Jason Blum attached to your movie, chances are that movie is being made with purpose. Black Christmas is no different. In the same vein of how Halloween 2018 build itself upon PTSD, Black Christmas manages to share that strength. Poots’ arc throughout the film is learning to come to terms with sexual assault. Side bar: if you or someone you know, is dealing with sexual assault, its’ healing process or fallout - please check out our resources here. Now back to your regularly scheduled review. Yet, another reason why its source material was innovative, was its handling of subjects like abortion and the journey a woman goes through within that time. Now 45 years later, we are once again experiencing that boldness through Riley’s journey of healing from this assault. When you through in the equality driven character of Kris (Aleyse Shannon), you get a strongly developed and executed final product.

Much like its sisters before it, Christmas does not always land in term of grace. One of the biggest issues within the sorority setting is a lack of development for a good chunk of its characters. Unfortunately, that is the landscape in which we find a good chunk of this cast. Outside of Shannon & Poots, the cast as a whole feels forgettable and expandable. Sadly, falling quietly into the footsteps of its legacy. While there is a sense of reinvention, the final act of the film goes against that tonally. Creating a final third of the film that feels both empowering and tonally inconsistent with the rest of the film. The film feels cut short in other aspects. Perhaps, given a bit more time to breathe, the film could have avoided the sloppiness of its ending.

Overall, Black Christmas (2019), is a beautiful reinvention of its source material. Co-writer and director, Sophia Takal, gorgeously pays homage to its past, while forging a tale of modern delight. The journey of Imogen Poots creates a cathartic element in which allows the character to heal, while also giving depth to her empowerment later in the film. The film brilliantly manages to pay homage to its past in its use of violence, and heavier themes. Black Christmas unfortunately falls victim to tropes once again. Thanks to the backdrop of a sorority, the film sacrifices character development in favor of its more horrific moments. A large portion of its side characters feel empty, void of purpose and forgettable. The culmination of the supernatural makes the finale sloppy and tonally inconsistent. Still, Black Christmas, is a bold new direction on a classic.

RORSCHACH RATING: 3.5 / 5

And more importantly, if you or someone you know is struggling with suicide, addiction, self-harm or depression - please free feel to reach out. Use any of our resources, call the suicide lifeline (1-800-273-8255) or text 741-741.

Black Christmas is property of Universal Pictures and Blumhouse Productions. We do not own nor claim any rights.