Caffeinated Clint
While it may seem superfluous to remake ‘70s horror classic “Black Christmas” again, and only 13 years since the last attempt, writer/director Sophie Takal successfully argues her reason to update with a template that’s heavy in welcome feminism and strangely more youth-appropriate than its predecessors.
Though originally shot as an R-rated film, but trimmed so it could be released as a PG-13, “Black Christmas” doesn’t lose anything on its way from college to junior high. Sure, these kids seem to have the cleanest mouths this side of Avonlea and the film conveniently cuts away when someone is about to be strangled, but the story and commentary remains intact. Furthermore, your 14-year-old daughter doesn’t have to have a fake I.D to treat herself to a fun, harmless and even moderately empowering holiday time-filler.
While Takal and April Wolfe’s story might be no more than the outline of Bob Clark’s original infused with David Nutter’s “Disturbing Behaviour” , the screenplay also has some strong and effective messages in there regarding female empowerment and inclusion. Taking its cue from the #metoo movement, the libretto is on fire when it’s pinching the male scum of the movie with the sharp, assured words of its female heroines.
We’re at Hawthorne College where, just as the campus starts quieting down for the holidays, sorority girls start being picked off by some sort of serial killer. It’s only when the stalker moves onto targeting Riley Stone (Imogen Poots) and her strong-willed pals that the tables are welcomingly turned.
There’s not a damsel in distress on display here. Instead, Takal populates the film with brainy, confident and powerful ladies — a stark contrast to most of the men of the movie, all seemingly alumni of “Revenge Of the Nerds” Tri-Lamb fraternity (In the actress cum filmmaker’s defense, there is a line in here that assures audiences all men aren’t pigs, but there’s not many on screen here who don’t seem to swim in mud).
Good to see the genre shining a spotlight on the lethal lady though, a position that up until last year’s “Halloween” reboot had been open since Kevin Williamson retired from writing teen slasher movies.
In addition to the timely commentary, Poots performance as the strong-willed and responsible Riley helps push the film from so-so horror territory to something significantly better. The versatile Brit serves up a credible turn that oozes likeability but also strength and, making her one of the more appealing horror heroines in recent years.
The supporting cast – including Cary Elwes as the slimy Professor – don’t get as much to do as the top-billed Poots, but they’re all still having a hoot here. Lily Donoghue and Aleyse Shannon, as Marty and Kris, respectively, are particularly fun.
While this film, and Glen Morgan’s 2006 remake, are clearly – and admirably – trying to add their own spin on the original ‘70s film, they might’ve actually done themselves more of a favor by being more faithful to it. And considering how faithful their work on the recent “Halloween” was, one expected Blumhouse might’ve attempted emulate the original Canadian classic more than it has. Where that film differs from the two remakes is in both the suspense and surprises department. The ‘74 film revels in its highly effective edge-of-the-seat thrills and jaw-dropping surprises; the updates simply roll with the punches – and ones we see coming a mile away.
Clark’s “Black Christmas” is still the shining star atop of the tree but Takal’s update is a welcome burst of tinsel just below it.
