Metacritic-Rezensionen

Blended brilliantly, this remake of Black Christmas makes for holiday horror that's a tantalizing and terrifying treat.

You can’t take a movie like this too seriously, but it’s still one of the rare slasher films that offers a holiday from bloodshed for its own sake.

Black Christmas is a fun film that gets its kicks out of literally smashing the patriarchy.

If the 2019 Black Christmas is not nearly as chilling as the original, it is genuinely barbed as gender satire, and it cleverly pre-empts obvious outrage.

As a mainstream slasher remake, Black Christmas is bound to be judged a letdown. But Takal’s aims are more subversive. And thanks to her, there’s now a bonkers deconstruction of a mainstream slasher remake hiding in plain sight.

Sophia Takal's update of the cult classic turns the real horror of campus assault into a springboard for cheap thrills.

The filmmakers’ overly simplistic depiction of good and evil is mitigated to some degree by the presence of Landon (Caleb Eberhardt).

Initially a sluggish stalker flick whose undergraduate moral debates are tiresome instead of provocative, it eventually transforms into a patriarchy metaphor as obvious as, well, all those Greek-lettered paddles that decorate both the frat's and the sorority's clubhouses.

Black Christmas deserves to be a better slasher satire propelled by empowerment than the messy, tonally obstructed holiday dud we're gifted.

It’s an unwieldy and messy thing, drearily directed and boringly written, taking its agenda seriously yet not providing a robust enough framework to surround it.