Tom returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the lives of 22 people. Instead of a homecoming, Tom finds himself suspected of committing the murders, and it seems like his old flame is the only one that believes he's innocent.
On one last road trip before they're sent to serve in Vietnam, two brothers and their girlfriends get into an accident that calls their local sheriff to the scene. Thus begins a terrifying experience where the teens are taken to a secluded house of horrors, where a young, would-be killer is being nurtured.
In the 70's, the boy Billy is born with yellow skin due to a liver disease and his dysfunctional mother rejects him. Later he witnesses his mother and her lover killing his beloved father and burying him in the basement of their house, and he is locked in the attic alone along his childhood. When he is a teenager, he is sexually abused by his mother and she has a baby girl called Agnes. During Christmas, the deranged Billy escapes from his imprisonment, kills his mother and stepfather and blinds one eye of Agnes. He is declared insane and his sister is sent to an orphanage. In the present days, Billy escapes from the Clark Sanatorium to spend Christmas with his family. Meanwhile, his former house is the Delta Alpha Kappa sorority house in the campus of the Clement University, and the housemother and the sisters Kelli Presley, Dana, Lauren Hannon, Megan, Heather, Megan Helms, Melissa and Eve Agnew are preparing the house for Christmas party in a stormy night while Clair Crosby is in ... Written by
Claudio Carvalho, Rio de Janeiro, Brazil
It is stated numerous times that the sisters would have a hard time escaping the house as it is hours away from safety. As per rules, all college sorority houses are situated on a college campus therefore they should have been able to reach safety. See more »
[Indicating to all the corpses in the attic]
They're my family now.
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The final credits include the message "Goodbye, Shirley," in tribute to composer Shirley Walker, a frequent collaborator with director Glen Morgan. Walker passed away in November 2006, before "Black Christmas"' release. See more »
Some movies are very confident in their ability to do many things right, thus ensuring an intriguing experience. A movie like "Black Christmas," however, is mostly confident in its ability to do many things wrong, yet still remain watchable on some bizarre level. Needless to say, it's an overhaul of the seminal 1974 slasher of the same name, in which a lonely sorority house is besieged by a killer making obscene phone-calls from the attic over the holidays. The 2006 version takes this premise and attempts to build a backstory around murderer Billy Lentz, who remained a shadowy specter throughout Bob Clark's film. I have to give writer-director Glen Morgan credit: while this bit of character development is wildly uneven (including giving Billy a sister-in-madness), it is consistent with the wildly inconsistent rest of the film. Morgan brought a strong sense of macabre humor and visual style (I dare call it "Burtonesuqe") to his exceptional remake of "Willard" (helped by Crispin Glover's delightfully wacky performance), but his stylistic leanings are simply the wrong match for a "Black Christmas" remake. There is not a single suspenseful scene to be found, and the violence is so exaggerated that it defuses any horrific effect (seriously, a killer who eats eyeballs?); additionally, the characters are so ill-defined that it's hard to keep track of who's who (had the number of girls been whittled down the point where they had actual personalities, we might have actually given a damn about them). And, for a slasher film coming in the wake of "Scream" and its kindred, "Black Christmas" just shows a general lack of common sense when an obvious threat is lurking (can you really feel sorry for a security guard who lingers in a maniac's room long enough to get knocked off?). But in an odd way, "Black Christmas" avoids the oblivion of crappy horror remakes due to Morgan's impassioned, assured sense of visual stylethat being said, it's nowhere near as good as its predecessor.
4.5 out of 10
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