Released in 2019, Black Christmas attempts to reboot the iconic 1974 horror classic, directed by Sophia Takal and produced by Blumhouse Productions. While the film aims to address modern social themes, it sacrifices the psychological horror that defined the original. As a fan who appreciates remakes that honor their predecessors while introducing fresh perspectives, I hoped this version would revive the chills of the original. Instead, it fell flat, feeling more like a missed opportunity than a tribute to classic horror.
The plot of Black Christmas 2019 follows a group of sorority sisters who find themselves hunted by a shadowy malevolent force. At first glance, this setup seems promising and reminiscent of the original. However, the 2019 version quickly diverges into heavy-handed messaging that detracts from the horror. The focus shifts from building suspense to delivering statements on feminism and toxic masculinity, with the horror taking a backseat. While I appreciate a story that explores meaningful themes, Black Christmas 2019 pushes its message so strongly that it overshadows any sense of dread or fear.
Where the original left much to the imagination and built suspense through subtle storytelling, the 2019 version lays everything out with little room for nuance. This approach not only makes the plot feel predictable but also removes the psychological edge that made the 1974 film so unnerving.
One of the film’s most divisive elements is its intense focus on social commentary. There’s nothing wrong with horror movies tackling relevant issues—many of the best ones do—but here, it feels as though the message takes precedence over everything else. The original Black Christmas portrayed its female characters with complexity, without feeling the need to hammer its points. In contrast, this reboot’s commentary is so overt that it distracts from the horror. The themes of empowerment and standing up against toxic masculinity could have added depth, but instead, they overwhelm the narrative, making it feel like an agenda-driven film rather than a horror story.
A horror movie’s effectiveness often relies on the audience’s connection to its characters. In the 1974 Black Christmas, each character had distinct traits and moments that made them memorable, which heightened the suspense as their lives were endangered. The 2019 reboot, however, presents characters who feel more like caricatures than real people. There’s a lack of personal detail and relatable moments that would make the viewer invested in their fates. As a result, I struggled to connect with them, making it hard to feel any real fear or concern when danger arose.
Imogen Poots, who stars as the lead, is a talented actress, but even her performance feels stifled by the script’s limitations. Her character, and the others, are so defined by the movie’s themes that they feel more like symbols than people. This lack of authentic, fleshed-out characters is one of the film’s biggest weaknesses, making it impossible to build any real suspense or fear for their safety.
A remake should retain the spirit of the original while introducing something fresh, but Black Christmas 2019 fails to do either. Instead of building on the original’s tension-filled, atmospheric style, it relies on generic horror tropes. There’s an overreliance on jump scares and formulaic horror setups that feel painfully predictable. Moments meant to be frightening are executed with such mediocrity that they come off as stale rather than suspenseful.
The original Black Christmas took time to build a sense of claustrophobia and dread, using silence and shadow to create suspense. In the reboot, these techniques are replaced by exaggerated shocks that don’t land, resulting in a movie that feels uninspired and disconnected from the horror it’s supposed to evoke.
For a horror movie, atmosphere is crucial, but Black Christmas 2019 lacks a cohesive visual style. The cinematography is bland, with scenes that feel too bright and polished, completely undercutting the sense of tension. Where the original’s low-budget look added a gritty realism, the reboot’s over-produced visuals remove any edge it might have had. The setting, a sorority house during the holiday season, had the potential to be a perfect environment for eerie visuals, yet it’s handled so generically that it loses any sense of uniqueness.
It’s almost as though the film forgot that horror thrives on contrast and atmosphere. Dimly lit hallways, flickering holiday lights, and shadowy corners could have transformed the sorority house into a chilling setting, but instead, we’re given a space that feels too clean and predictable.
The original Black Christmas was groundbreaking, not only for its horror but also for how it subtly explored themes of women’s autonomy and vulnerability. The 2019 reboot had an opportunity to update these themes for today’s audience, but it misses the mark. Rather than thoughtfully weaving in social issues, it presents them in such an overt, preachy way that it feels like it’s yelling at the audience rather than inviting them to reflect. Horror is powerful when it makes us confront our fears and beliefs indirectly. Unfortunately, this film doesn’t give the viewer that experience.
As someone who genuinely loves horror and appreciates a clever remake, Black Christmas 2019 was a major letdown. It attempts to address important social issues but does so at the expense of engaging storytelling and true horror. The film lacks the suspense, character development, and atmospheric dread that made the 1974 version a classic. Instead of a thrilling horror movie, it feels like a forced message disguised as a film, which will likely leave fans of the genre and the original frustrated.
If you’re looking for a movie that pays homage to Black Christmas and delivers on horror, I’d suggest rewatching the 1974 original. This reboot is best left on the shelf, as it misses every opportunity to capture the magic of its predecessor.