6.5/10
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Happy Death Day (2017)

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0:31 | Trailer
A college student must relive the day of her murder over and over again, in a loop that will end only when she discovers her killer's identity.

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Cast

Cast overview, first billed only:
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Gregory Butler
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Stephanie Butler
Jason Bayle ...
David Gelbman
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Keith Lumbly
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Frat Brother
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Ryan Phan
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Nick Sims
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Becky Shepard
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Police Officer
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Storyline

A teenage girl, trying to enjoy her birthday, soon realizes that this is her final one. That is, if she can figure out who her killer is. She must relive that day, over and over again, dying in a different way each time. Can she solve her own murder?

Plot Summary | Plot Synopsis

Taglines:

Get Up. Live Your Day. Get Killed. Again.


Motion Picture Rating (MPAA)

Rated PG-13 for violence/terror, crude sexual content, language, some drug material and partial nudity | See all certifications »

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Details

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Release Date:

13 October 2017 (USA)  »

Also Known As:

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Filming Locations:

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Box Office

Budget:

$4,800,000 (estimated)

Opening Weekend USA:

$26,039,025, 15 October 2017, Wide Release

Gross USA:

$55,641,280, 7 December 2017

Cumulative Worldwide Gross:

$56,300,000, 26 October 2017
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

During the film, Tree's full name is revealed to be Teresa. See more »

Goofs

Despite the film taking place in Louisiana, only one character ever speaks with a Southern accent. Everyone else speaks with no discernible accent. See more »

Quotes

[repeated line]
Carter Davis: Oh hey. You're up!
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Crazy Credits

The opening Universal logo gets abruptly sucked into oblivion and then restarts, referencing the film's time loop element. This happens twice before the logo finally plays uninterrupted. See more »

Connections

References Ghostbusters (1984) See more »

Soundtracks

Confident
Written by Demi Lovato (as Demetria Lovato), Max Martin, Savan Kotecha and Ilya Salmanzadeh
Performed by Demi Lovato
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User Reviews

 
"Scary Movie", "Scream" and Groundhog Day adopt a wicked baby mask
3 December 2017 | by See all my reviews

On this base idea is set up Blumhouse Productions' latest big hit, Jason Blum's production company has been crowned as the only studio to make a huge profit at the box office with low-budget medium-high quality films. Being its 13th flick with a respectable worldwide grossing, "Happy Death Day" must be considered, besides an extra proof of Blumhouse vigor and vitality, as a breath of fresh air for commercial slasher cinema, one to which, little to little, they bury it the stake further inside.

The main disadvantage with the script doesn't lie in the combination of genres, otherwise, that's one of the most remarkable features of the film, the drawback is the way to tie up some loose ends, because, in fact, they are closed to so much pressure that coherence threads are abruptly detached. As a thriller, mystery whodunit, the interest of audience will be placed in the resolution of the homicide, consequently, if you want to carry the genre proudly, should manipulate the perceptions of each spectator in order to cast doubt before the more insignificant detail, here, although interesting bets are proposed in the course of the third act, the truth about who's behind the creepy mask is not a great thing at all. Inserting, unjustifiably, the subplot about a lurking criminal as a rough backdrop, inserting boring overcoming of family quarrels, inserting the stereotyped comings and goings in this kind of stories, the feature film ends up being a mildly lost opportunity, it could have formulated more surprising suspects and more intelligent endings for the unknowns, a little help: Carter. Another point, which cannot be part of the category of flaws due to the origin of its dubious purpose, concerns the absence of a clarification about temporal loops. As soon as they lay all the cards on the table, nothing more expect to conclude the game, give a coherent explication about day- restarting plot, however, there are no grounds for it, neither explicit nor implicit, simply, the idea is left up in the air, so that moviegoers produce their own clarifications, as always, a double-edged sword. Fortunately, the film keeps enough vigor, dynamic and strength in montage sets, performances and narrative circumstances that make it more than energetic, fascinating and entertaining the rebirth of our protagonist anti-heroine.

As writer sets on the one side of the triumphant Blumhouse balance equation, on the other side, the director acts as a counterbalance. Although Christopher Landon's name seems Lilliputian compared with film-savvies as James Wan, M. Night Shyamalan, Oren Peli, Jordan Peele, Joel Edgerton, Scott Derrickson or Damien Chazelle; his most recent pic would be the first great milestone in his ascending career, even though he has a long, long way to enroll in the major leagues. Landon provides newness and daring for a film that could easily have fallen into muddy plots of aimless comedy, dysfunctional horror or soporific thriller; here, the filmmaker reveals his contemporary thinking by transmitting young-focused company MTV's "Teen Mom" on Tree's TV instead of any Hitchcock's or Coppola's classics; here, Landon places a female Bill Murray imprisoned in a college campus; drastic swaps that benefit the feel-good that radiates the ending of the film. Evaluating the work of the director through the final result, one could say that the man behind "Scouts Guide to the Zombie Apocalypse" has just gained a great improvement in terms of filmmaking and control is concerned, Every filmmaker who demonstrates a professional advancement deserves a heated ovation, however, taking into consideration Landon's labor, half of the continent must stand up and applaud him, congratulations, a future colleague.

Uni and Blumhouse manage to deliver an entertaining contemporary story with honors, they can produce a five-star action thriller, abduction suspense one or murder-solving one, simply, shows off the aces up its sleeve and leap them, without clemency, on the face of the spectator. The particular montage, the nice pictures and the excellent score team up in a moderately phenomenal way, although, visually, they are restricted by the number of scenarios shown in the first twenty minutes, however, the lack of possibilities encourages productivity and originality that end up in magnificent films, in this case, it's testified through interesting camera movements, amazing angles, and very old-school approaches; the saying: creativity is the only weapon emerging from low-budget and narrative constraints is very true. The soundtrack deserves special mention, it seems to mock 80's horror flick, its stridency and apparent jocularity are mixed with the same functionality as the images, its melodies recall "Scream", and even, there are explicit scenes which lead to our memory, without any remedy, to Wes Craven's film; great job Bear McCreary, no doubt, the best aspect of the film.

Christopher Landon's "Happy Death Day" positions itself on the throne of the horror and youthful-humored satire of the year, not merely because of its picturesque premise, but because of the appropriate levels of execution and narrative approach it presents. Although never taking itself too seriously, it serves as a fortifying incentive for the association between studios, verifying that they are on the right way, a path brimming with originality and magnetism that would not be defaced by low-budgets. Sadly, the film is left behind compared to its contenders, experimenting a sense of emptiness at the end of the showtime, shows that, at least narratively, has been a partially lost opportunity. Undoubtedly, Landon's film had the perfect tools to become huge, but with the result, it only got to be big. Let us blow out our candle of desires and we pray together for longevity and vitality of this alliance.


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