Though not as universally detested as the 2006 re-do, 2019’s further Black Christmas remake from director Sophia Takal was still savaged by critics for being “woke”, in my opinion unfairly. From what I can tell, pundits gave this one a thumbs down because it introduced a supernatural element to the plot and because it dared to be overtly feminist, carrying a very clear #MeToo message. But also at Christmas.
I find this one quite affecting and much smarter than a lot of stuffy (male) critics gave it credit for. It’s an uncomfortable watch for all the right reasons and is strangely powerful and moving, if a little clumsy in its storytelling. Takal’s movie does loosely stick to the basic blueprint of Bob Clark’s original with a small group of sorority girls under attack from an unknown, shadowy baddie. However, this one is less concerned about extravagant Christmassy kills (though there are a few good ones) than it is in exploring various social movements that have sprung up in recent years. For me, it’s a remake that very clearly fits the time that it was made in and, though it’s not that scary or Christmassy, it’s a film that more people should see, if only to have a good think about how misogyny and sexual violence against women needs to be tackled ASAP.
This is the story of Riley (Imogen Poots), survivor of a campus date rape where, though she spoke up about it, nothing was done. It’s bleak but sadly believable. Riley’s comforted by her sorority sisters and is desperate to move on but a Christmas talent show performance by the girls blatantly and publicly calls out the rapists and then bad things start to happen.
I find this fascinating, less for the horror plot, than than for the way it unashamedly presents scenes of articulate, intelligent young men and women openly discussing sexism, rape and the problems with ‘frat’ culture. There’s a killer out there murdering young women, which is frightening enough but the film also presents the concept of privileged young men who feel actually threatened and marginalised by women’s rights and want to “set the world right”, by any means necessary - now that’s scary.
Things all get silly with masked, cloaked multiple killers stalking the girls, culminating in some downright implausible ghostly shenanigans. However, I read all this as one big, juicy metaphor about the power of antiquated, misogynistic attitudes. A few critics seem to have read the film - especially considering its violent, fiery crescendo - as carrying a blunt “all men must die!” message. I see it more as a clear signal that destructive, outmoded ways of thinking must be burned to the ground before we can move forward.
This feels like a very prescient film, showing depressing ‘denialism’ and ‘confirmation bias’ in full flow - assholes will keep being assholes as long as they can find other assholes to hang around with and assure them that their behaviour is acceptable.
It’s not all preaching either, as Takal’s film features some excellent visuals and effective scares, including an effective homage to a very famous jump scare from The Exorcist 3. Elsewhere, an image of a victim making snow angels in the frost as she’s dragged to her doom is both chilling and beautiful.
This one’s a sad reminder that real monsters are usually close by - they look like us but it’s their attitudes that are diabolical. More chillingly, many don’t even consider themselves bad guys. I had no idea this film would make a feminist out of me.
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