Mike Shaw

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Abstract - Hawthorne College is quieting down for the holidays. One by one, sorority girls on campus are being killed by an unknown stalker. But the killer is about to discover that this generation's young women aren't willing to become hapless victims as they mount a fight to the finish; star - Imogen Poots; Creators - April Wolfe; 3,9 / 10 Stars; 92 minutes; &ref(https://m.media-amazon.com/images/M/MV5BMzczYzk4NWUtY2I0NC00OWEzLTgxYzAtOGM3NGU1ZjZlOGQxXkEyXkFqcGdeQXVyMDA4NzMyOA@@._V1_UY113_CR0,0,76,113_AL_.jpg)

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Part of my christmas playlist. Rarbg file hosting black christmas free. Leute habe den Film gestern im Kino gesehen und der war einfach nur eine verarsche ein mann saß vor mir und meinte zu mir und meiner Freundin seid ihr auch so enttäuscht wir so jaaa aufjedenfall einschlechter Film lohnt sich null dafür ins Kino zu gehen nur damit ihr Bescheid wisst und nicht euer Geld verschwendet. Rarbg file hosting black christmas trees.

At 10:04, it sounds to me like shes saying “Im going to school.”. T here’s a curious dichotomy within slasher movies, a subgenre that both punishes and rewards its female characters. While many of the women are being slaughtered, in variously graphic ways, a storied tradition of “final girls” are being empowered, surviving and ultimately triumphing over masked killers. At times, there has even been room for knife-edge commentary on the extreme dangers of misogyny and slut-shaming, most memorably in the crowd-pleasing finale of Scream where two women bring down a pair of murderous incels. But there remains an understandably conflicted relationship between gender and slashers which makes the arrival of one aiming to do something with this seem like an enticing proposition. The behemoth-like production company that is Blumhouse, behind hits such as Get Out, The Purge, Happy Death Day, Split and last year’s Halloween revival, has come under fire for its lack of female directors, a fact made even worse by head honcho Jason Blum’s ill-advised comments last year. “There are not a lot of female directors, period, and even less who are inclined to do horror, ” he said before swiftly being reminded that yes, women do like horror films too. Soon after, he hired rising indie actor-director Sophia Takal for an instalment in his Hulu-based horror series Into the Dark called New Year, New You, an intriguing, often insightful, attempt to satirise the dark side of self-care. She has been brought back for a revamp of Black Christmas, an often underappreciated slasher from 1974, preceding Halloween by four years, a film thought of by many horror fans as the first true example of the formula. Announced in June, with production starting later that month, and now out just under six months later, there’s an inescapable, palpable sense of hurry throughout the 2019 iteration. It’s quick, cheap-looking and entirely devoid of suspense, atmosphere and dramatic tension, so inept at times that it makes 2006’s questionable remake suddenly seem like a misremembered masterwork. What’s most surprising, and initially intriguing, about round three is that it’s ultimately less of a horror film and more of a thinkpiece, a hodgepodge of buzzwords and ideas, aiming high but crashing into the snow. There’s the kernel of a good idea in a script co-written by Takal and former film critic April Wolfe, which attempts to place the loose setup of sorority sisters at risk in a believably contemporary campus setting. Our final girl is Riley (Imogen Poots), a withdrawn sophomore struggling with the fallout from a horrifying sexual assault inflicted by an ex-student belonging to an aggressive fraternity. In the last few days of the fall semester, tensions rise at the college with a petition to dethrone a classics professor (Cary Elwes) for his curriculum, which doesn’t include enough diversity, and a prank played by Riley and her sisters aimed at calling out toxic masculinity among their male peers. There’s also the small problem of a masked, hooded killer. Repeating its mission statement ad nauseam via dry, box-ticking dialogue, Black Christmas wants you to know what it’s doing and how clever it is for doing it. But using terms like “white supremacist patriarchy” in every other line of dialogue isn’t enough by itself and the film fails to support its superficially progressive thesis with a smart enough plot, trucking ahead with speed but without ingenuity. The PG-13 death scenes are rushed and ineffective, the characters are anonymous and interchangeable and as the film takes a supernatural turn, it becomes clear that Wolfe and Takal seem to think they’re making the new Get Out but for women. But while Jordan Peele’s devious game-changer was able to neatly inject racial politics into an increasingly fantastical horror film, the creaks here are deafening. Lucy Currey in Black Christmas. Photograph: Universal Pictures 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. It’s a film that urges us to believe women yet shows female characters not believing the legitimate concerns of their female friend. It reminds us of the importance of queer and trans voices yet includes an entirely straight cast of characters. The odious sexual violence of straight frat culture is a perfect jumping-off point for any horror film, especially given how one notable example of it is currently serving on the supreme court. But as Wolfe and Takal lean harder into the goofy specifics of their conceit, the real-world horror disappears from view. The intention of Black Christmas, to bring a more pronounced feminism and female agency to the slasher film, is one to be applauded and somewhere in the universe there’s an intelligent, self-aware script capable of doing this, cleaning up dusty tropes and dragging them to the present day. This isn’t it. Black Christmas is released on 13 December.

Rarbg file hosting black christmas eve. It would be scary as hell if you heard someone say I See You when your on the toilet. If you reading this i hope you become successful and rich in life ???. F or as much as he cornered the market on great Christmas movies, poor Bob Clark has sure had his classics thoroughly tarnished in the years since his death, hasn’t he? A Christmas Story is arguably Clark’s best-known work to the general populous, but I think Black Christmas is worthy of equal or greater attention. Released in 1974, for those unaware, the film follows what we would see today as a fairly standard slasher formula: members of a sorority house are stalked down and murdered by an unseen assailant over winter break, until the cast is whittled down to its final girl. Black Christmas was a film relatively unsung in its day, but has since gained a large cult status as one of the first modern slashers, credited with inspiring the 80’s classics like Halloween. It cannot be credited enough for how much it has shaped the current horror genre as we know it. Alongside John Carpenter’s The Thing, it’s one of my favorite horror films to throw on at Christmastime. The film, prior to this most recent reimagining, had already undergone the 2000’s remake treatment back in 2007. While the plot remained relatively unchanged, it added a significant amount of backstory to the previously completely unknown killer; the film was a minor financial success, but a critical and audience failure. That is to say, the original ‘74 film has already been taken by the Hollywood machine once before. And it seems that the people at Blumhouse had the same thought that I did ? a remake of a film that had already been remade within the last fifteen years would probably be a very poor choice. Black Christmas is not Spider - Man, after all. Thus, director Sophia Takal’s take on the film strays even further from the original classic. Outside of some visual references and the film simply existing as a ‘slasher’ that takes place over Christmas vacation, next to nothing has been brought over from Clark’s film. And, boy, is it not good. I feel the need to defend the original film a little here, because so much of the marketing for the 2019 adaptation, so many reviews, tout it as a “feminist update”. These girls aren’t “willing victims”, they’re liberated badasses who can fight off the patriarchy and the stalker all at once. They aren’t like the girls of the original film. But I would really argue that the original Black Christmas is incredibly feminist, undeniably so in the context of the time it was released. In January of 1973, the decision in regards to the Supreme Court case Roe v. Wade was heard, which gave protection to women seeking an abortion. Black Christmas was released late in 1974; and abortion is a prominent discussion point of the film. The final girl, Jess (Olivia Hussey), is revealed to be pregnant by her boyfriend pretty early on. She also very firmly establishes that she doesn’t want to be a parent and plans to get an abortion. This becomes a major point of contention between Jess and her boyfriend, who is aggressively against the idea of an abortion to the point of threatening her several times throughout the course of the film. This subplot comes to an end once Jess suspects her boyfriend of being the killer; when he breaks into the sorority house, she beats him to death in a panic. T here’s of course an argument to make about the inherent sexism in a film about college girls being slowly and brutally murdered by a man. And there’s no denying that the horror genre is often inherently sexist. I don’t think you could make any argument that horror films don’t exist within a sexist vacuum, in the same way you can’t say that about any genre. Sexism is a societal, deeply rooted issue within Western/American society, of course it has bled into our entertainment media. Black Christmas, really, is not a masterpiece impervious to criticisms. Olivia Hussey’s Shatner-acting can get really distracting towards the end, and a lot of the humor involving the cops does little more than grind the film to an excruciating halt between kills. It is the first modern slasher, and that means it includes the drawbacks of the subgenre as much as it does the admirable aspects. But the 1974 film has a cast of characters that are treated like real people. Each girl is different and unique; they’re all clearly friends with each other, they fight in naturalistic ways. Black Christmas is a film that tries to be very firmly grounded in realism, and these girls reflect that. While comments are made about things such as rape culture and the inherent danger of womanhood, they don’t become lengthy dialogues about it. In part, yes, because that’s just not what the film is about, but also because that’s just not how most people talk. Women do not need to explain to other women that threats of violence, rape, and death are a constant day-to-day thing. It comes implied in their anxious looks and body language, the way they act around other women in comparison to when they’re around the men of the film. 2019’s Black Christmas, as one review so eloquently puts it, instead falls into “the trappings of t-shirt feminism”. It is a film less concerned with creating legitimate conversation about rape culture and political correctness in college settings, and more worried about generating lines that will fit well on a mom’s feminism-themed Pinterest board. This is a film created out of feeding #Woke Twitter into an AI and asking that AI to generate a screenplay. “You’re insane, ” the lead girl cries. “No, ” the antagonist tuts, shaking his head, “we are simply men”. Somehow Target already has this on a t-shirt next to the “wine o’clock” subsection. And modern feminism continues to die a slow death, from ideology into commodity. B lack Christmas, 2019, fails as both a horror film and as a message movie. A lot of people cried blasphemy when it was announced the movie was going to be released with a PG-13 rating, but PG-13 horror is not inherently bad horror. It is a different kind of horror than something with a hard R though; PG-13 films have to rely more on atmosphere and tension than on gore and graphic kills. You have to be a good enough filmmaker to deliver the implication of horrific things as effectively as visual horror. And I just don’t think Sophia Takal is. Having directed three films prior to Black Christmas, I ended up watching her previous film from 2018, New Year, New You, by happenstance during the writing of this. While not abysmally bad like Black Christmas, the film is instead just this dull void of nothingness and almost-ideas, crowned by a lack of awareness in making the first victim of the film a black lesbian. Takal still ends up being unable to balance horror with the message she clearly thinks is the most important thing in the world (girls are catty, influencers are bad … girl power? ), and that makes this film and Black Christmas both tonally unbalanced. “New Year, New You” (2018) dir. Sophia Takal There is such a depressing absence of horror in Black Christmas that it makes me wonder why the title was even attached to it. While a cult classic, I don’t think the original is what you would call a household name in the same way as Halloween or Scream. And horror films independent of franchises, while perhaps not box office gold, aren’t exactly struggling either. Us, Parasite, The Lighthouse, and Midsommar all came out in 2019 to good critical review, all easily made back their budgets and then some. And so the choice to tether this film to a title that it is completely unrelated to is just simply baffling. It’s not a horror movie. Whenever a kill happens, the camera is forced to cut away before the audience gets to see anything. And while we are deprived of gore, we are never given any substantial tension to replace that. There is rarely even an effort to create suspense, and so what is easily 75% of the film feels like a high school drama a la Riverdale. Takal has said that she wanted the film to be PG-13 so that the “message” of the film could reach a slightly younger audience, so the lack of horror at least has an explanation. So you would expect the message of the film to be carefully crafted, right? With at least a little nuance? No, Black Christmas is just as much a shitty message film as it is a shitty horror movie. The first thing I posted about this movie upon leaving the theater was that if anyone was a victim of rape or sexual assault, they should probably stay far away from this. Yeah. This section is going to be about that. It’s not going to be in graphic detail, but this is your warning to tap out now if discussion of rape and sexual assault is a triggering subject for you. In between the murders of the sorority girls, the B-plot of Black Christmas is on the main girl, Riley (Imogen Poots), and her struggles in healing from being raped several years prior by a frat boy, Brian. This subplot is the primary focus of the film for easily the first half, and it gets a vague payoff by the end by converging with the main slasher plot. On paper, I can see this looking like a good idea. You get to examine rape culture as it uniquely exists on college campuses, the complicity of sororities and frat houses in this, and how the structure of college, as well as society, inherently benefits men and allows them to maintain positions of power. And to want your film to be more accessible to girls is also not a bad thing, I have no gripes with that. My gripes with this subplot is that the film does not seem to take rape seriously, and it has an incredibly confusing idea of what “empowerment” is. This is not helped by the fact that every characte
Plot twist she is also guilty. 1974: Black Christmas 2019: African-American Holiday season. Rarbg file hosting black christmas tree. Rarbg file hosting black christmas 2017. My Daddy's here Well thats gross to hear.