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To those of you Halloween fans, THIS is the film that came first, John Carpenter's Halloween is doused with aspects lifted directly from Bob Clark's Black Christmas. Alongside Psycho it remains one of my personal classics. Very unnearving and in parts horrific - the phone calls for instance. Basically its Christmas time, as the title suggests and an unknown killer has found his way into the attic of a sorority girls house and begins killing them one by one. Kidder's performance of the drunken, outspoken Barb is fantastic, followed closely by Olivia Hussey, who is truly beautiful in this movie. The camera work and direction is first rate, the first person perspective, heavy breathing - which most will know from Halloween, Mr Clark did it here first, and in my opinion, did it better than JC. It's not full of gore its full of suspense and wonderful creepy atmosphere, as I mentioned before, the phone calls really will put you on edge, as will the 'eye' scene. Get ready for a shocking ending and watch it again for all the bits that you didn't catch, believe me there will be some. Alongside Jacob's Ladder, Don't Look Now and The Fog this really is one of the most frightening films I have ever had the pleasure to acquire.

It's not often that you find a film in the thriller/horror genre that has something "new" to say, so it's even more exciting to find that one of the original films in the "slasher" genre is actually still one of the freshest, most unique and utterly entertaining of them all. This is the kind of movie you can't wait to tell your friends about, knowing full well they've probably never seen it, but they've heard of it.

Everything about this film is stellar. The acting, to steal the words of a great reviewer who loves this movie, is flawless. The direction is confident and assured. What is Bob Clark's story? How did he go from making quirky, ground-breaking horror to...well..."Baby Geniuses 2?" His black-humored wit is on display in all his movies, and here too. Margot Kidder and Marian Waldman shine as foul-mouthed alcohol abusers. Particularly Kidder--it's hard to believe she did this at the BEGINNING of her career, she's that assured...and fun to watch. Olivia Hussey is alluring as the lead, Jessica, and her beauty, as well as her speaking voice are a welcome presence.

The plot might seem clichéd now, until you understand that it was all the movies that came AFTER that were the clichés--even "He Knows Your Alone," which seemed so vital at the time, can't compare. "Black Christmas" is a FILM, and goes beyond the conventions of a cheap slasher. The key is the ending--only a director with an artistic sensibility would have fought for it (no spoilers here). Suffice to say, in all the slashers I've watched I've never seen the equal. It's a tricky business to sum up a mystery in a plot, and few can maintain the element of surprise, intelligence or creativity required. You will NOT see the ending coming here, and though the end is a surprise, it works well.

If you're like I was and hesitating to watch this because you think it'll just be "another fear film," don't waste anymore time! You will NOT be sorry you spent your Christmas "black..."

Think of the most compelling and interesting modern slasher you've ever seen, and then imagine if it was filmed in 74'. That's what this is. I was put off by the fact that this movie looks and sounds dated by today's standards, just like all movies from that era. For me, that's usually a deal breaker. But goddamn this movie truly is tasteful and classy horror, with well acted characters that make smart decisions and say smart things that a real person would do and say, and a truly terrifying psycho killer! This movie absolutely puts to shame all "slashers" that have come after it. Seeing a brooding atmosphere set up like this really makes me understand just how much my standards have been lowered by the current offering of horror movies out there. I've just gotten used to the mediocre and accepted it as normal, but Black Christmas is true home invasion horror, like I've never imagined. And this might be the creepiest psycho killer I've ever seen.

I could see how this generation might be put off with the slowness of some of the movie. From my perspective, it wasn't slowness, it was absolutely necessary scenes to properly build an atmosphere where the actual terrifying scenes are extra terrifying, but that's getting rarer and rarer to see in modern films.

What a movie.

The girls of a sorority house are being tormented by a twisted prank caller who continually calls to convey increasingly vile and abusive sentiments. What at first appears to be a sick joke eventually turns violent for the girls during the season of supposed goodwill and merriment.

The original and maybe even the best, ‘Black Christmas' set the ball rolling for the slasher genre and was the biggest influence for the phenomenally successful John Carpenter classic, ‘Halloween' (1978), which was, in fact, originally conceived as a sequel. Although Italian director, Mario Bava, had previously created what some see as the first slasher movie, ‘Bay of Blood' (1971), it was ‘Black Christmas' that was to become recognised as the catalyst for one of the most lucrative sub-genres of horror cinema. Bob Clark (who previously made the kooky, enjoyable, low-budget zombie film ‘Children Shouldn't Play With Dead Things' (1972)), still at this point something of an amateur director, took a simple yet naturally frightening concept and turned it into one of the most unsettling and nerve-wracking one hundred minutes in cinematic history. Only a select few films such as ‘The Haunting' (1963) and ‘Alien' (1979) are atmospheric enough to truly equate to the eeriness and feelings of apprehension that are to be induced by ‘Black Christmas'.

The simplicity of the production is what makes it so endearing. There are no overly bloody death sequences or unlikely, comic-book style events; the viewer is just presented with an unnerving tale which could easily have a strong basis in reality. Inventive camerawork and POV shots as well as a superlative use of lighting are the elements that combine to achieve the desired results. The often pseudo-claustrophobic environment of the sorority house, from where the vast majority of events occur, offers the perfect, vulnerable and unguarded location susceptible to intrusion and thus attributes to the continual foreboding atmosphere. Clark was not afraid to take time building both the story and characterisation as well as introduce the viewer to the aspects that he would use to build the suspense. This is prepared before plunging the viewer into a seemingly uncontrolled nightmare that one experiences along with the protagonists. Another aspect that firmly stands out is the mysterious way that everything is presented; even at the very end, very little has truly been explained yet everything seems like it should have an obvious explanation. Even in its undoubted simplicity, ‘Black Christmas' has complicated facets that require thought from the viewer to entirely comprehend the film. In some ways, the concealing of several key points puts the viewer's knowledge of events on a par with the actual characters.

‘Black Christmas' is also complimented wonderfully by strong acting performances from Olivia Hussey, Margot Kidder, John Saxon and a highly pleasant and amusing turn from Marian Waldman. Despite the tiny budget, this is a highly polished horror film that genuinely belongs among the elite of the genre. This is where it all started and those familiar with later slasher films such as ‘Halloween', ‘Friday the 13th' (1980), Slumber Party Massacre (1982) and ‘The House on Sorority Row' (1983) should be able to spot several of the now-clichés that first materialized in ‘Black Christmas'. My rating for ‘Black Christmas' - 8½/10.

Long before Jamie Blanks turned popular urban legends into a theme for his routine slasher franchise, director Bob Clark took one of the most vigorously touted of those fables and created a genre staple that would become the forerunner of the stalk and slash cycle. Comparisons can obviously be drawn between this and Halloween, including notorious but unconfirmed reports that Carpenter's film was in fact based upon an un-produced concept that Clark had earlier initiated as a sequel to this 1974 sleeper. Both efforts certainly have a lot in common with one another; including two excellent steady-cam openings - putting the viewer in the killer's shoes as he enters his 'soon to be' scene of a crime - that are almost interchangeable. On the 'making of' featurette for the 25th anniversary of Halloween, perhaps one commentator is fairly unjust when he states that it was that movie that started the excessive use of point of view shots that are so often imitated in horror cinema ever since. Black Christmas was equally as effective with its application of first person cinematography, a feat that John Carpenter clearly recognised before incorporating and perhaps improving upon it for his further acknowledged masterpiece.

The story concerns a group of sorority sisters that are preparing for their Christmas celebrations in a remote house. They have been receiving bizarre and threatening calls from what sounds like a group of insane people, although no one takes them seriously at first, believing that they're just a typical prank from a few of the local town boys. However fears are ignited when one of the students, Claire (Lynne Griffin), doesn't arrive to meet her father on time and is reported missing. Later a child is found butchered in the park, whilst all the while the Looney continues his demented ringing and terrorising the young women. Before long Lieutenant Fuller (John Saxon) realises that there may be a link in the occurrences and asks Jess (Olivia Hussey) to remain close to her phone so that he can trace the line when the lunatic next rings. But will there be anyone left alive when that happens?

Although this movie is neither graphic, gratuitous nor particularly unpleasant by today's standards, it remains one of the most disturbing and chilling 'slasher' movies ever made. Perhaps as mysteriously alluring as the exploits of Michael Myers and certainly far more alarming than any of the endless Friday the 13ths could ever hope to be. The killer creates the fear himself, but not in the typical methods that have become somewhat old-hat in more recent efforts. This assassin doesn't wear a mask, probably doesn't possess any super-human attributes and may only be threatening towards the female of our species. But his enigmatic ranting and crazy excessive skips between multiple personalities that are portrayed superbly over phone calls, which are all but too short; effortlessly allow him to become one of the creepiest wackos ever set to celluloid. Never has a telephone been implemented as a tool for creating fear so efficiently, there's something really unsettling as this Jekyl and Perhaps ten Mr. Hydes argues potently with himself. He changes his pitch from that of a high female to a deep and aggressive male and then back again, in a manner of pure and unadulterated insanity that really sticks in your throat. He perhaps reaches his most bloodcurdling moment when he drops all the wacky personas to adopt a civil yet curt voice and mutter once; `I'm going to kill you'. Proving to be the one and only direct threat that he makes in the whole movie.

Where as Michael Myers' success was brought about by the mystery that surrounded the little that we knew of the true motivations of his character, a similar method has been used here. We never actually see who's terrorising these girls and we are never given a reason for his dementia. He often refers to himself as 'Billy' or 'Agatha' in his one sided conversations, but we never learn of the events that made him spiral into such mindlessness. In a movie like Scream (aka The Outing - not Wes Craven's) this just feels like lazy and incompetent filmmaking, however Bob Clark puts it across in a manner that makes you want to learn and know more and he teases you with revealing that you never will. His talents as a director certainly reached their peak with Black Christmas. Helped excessively by some great cinematography and neatly planned lighting effects that often evade the more recent slasher movies, Clark proved himself as a great filmmaker that would have his inspiration cemented over the years that followed. He produced fairly original ways to keep the killer obscured from view, whilst not forgetting the fundamental silhouette and shadow play. If you do predict the twists in the plot, then it's only because they have been carbonated so many times since this hit the shelves, that they now feel second nature to any horror fan. It's good to remember that this was one of the first to use these elements and you must also note how perfectly this holds up against the less than impressive attempts that have been released up to three decades after.

Some brilliant supporting actors whom themselves would make their own slight impressions on the genre (Margot Kidder: The Clown at Midnight, Lynne Griffin: Curtains and John Saxon: Nightmare Beach and The Babydoll Murders) are sadly let down by a weak lead in Olivia Hussey. She's certainly not terrible, but at times her performance was fairly improbable when she could have found chances to shine. Kudos however to the actor(s) that performed the terrorising calls, I don't think titans like Brando or Nicholson could have played them any better! Credit has to be given to whoever helmed that crazy dialogue, for without it, the movie certainly would not have been so fearfully memorable! Perhaps a little further explanation on Peter's (Keir dullea) exact involvement may have helped make the end a little clearer, admittedly I was a little confused. Although I must confess that I can't be sure if that was my fault for not watching properly (it was late at night) or it was crafted deliberately to help cloud the mystery? But those gripes are hardly damaging and mainly I really enjoyed Black Christmas.

The slasher genre has gained a reputation over the years for being somewhat over populated by incompetent/amateur filmmakers. But efforts like this, Halloween and The House on Sorority row prove that the category is a necessary ingredient to cinema history when it's handled properly; often able to generate superb and noteworthy results that rank up with any of horror's acclaimed pieces from the past. This has recently been re-released on DVD with minimal extras but maximum value for money and really does warrant a purchase. There's really not a lot more to be said to convince you, this is a true cult-classic and your collection is poorer without a copy. As stylish as the best Giallos and as disturbing as Friedkin's Exorcist, this is certainly worthy to hold its renowned status for years to come. Maybe next time you are bothered by a crank caller, you'll be a little more cautious as to how you handle the situation.