Black Christmas
Universal Pictures | Release Date: December 13, 2019 CRITIC SCORE DISTRIBUTION
49
METASCORE
Mixed or average reviews based on 25 Critic Reviews
Positive:
9
Mixed:
8
Negative:
8
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Critic Reviews

Critic scorePublicationBy date
86
IGNChristie PuchkoDec 12, 2019
Blended brilliantly, this remake of Black Christmas makes for holiday horror that's a tantalizing and terrifying treat. Read full review
82
PolygonKaren HanDec 13, 2019
For the most part, Black Christmas is a breath of fresh air. Unlike their 1974 counterparts, these sisters are more than just bodies to be dismembered; they’re forcefully bonding together to fight back against an oppressive system. Read full review
75
RogerEbert.comSimon AbramsDec 13, 2019
So while not everything works in Black Christmas, the stuff that does is ultimately what matters most. Read full review
70
New York Magazine (Vulture)Angelica Jade BastienDec 16, 2019
If the righteous retelling ever feels heavy-handed, it’s Poots’s command of her role and the cast’s electric chemistry that make this a reckoning fit for our fantasies. Read full review
70
Los Angeles TimesKimber MyersDec 12, 2019
Black Christmas is a fun film that gets its kicks out of literally smashing the patriarchy. Read full review
70
VarietyOwen GleibermanDec 12, 2019
You can’t take a movie like this too seriously, but it’s still one of the rare slasher films that offers a holiday from bloodshed for its own sake. Read full review
67
The Film StageJohn FinkDec 16, 2019
A horror film populated by smart characters that take on the patriarchy by refusing to play by its rules, its anger and its heart is in the right place. The problem is how it achieves these ends with plot devices that feel borrowed from cheap studio cash grabs usually dumped in theaters in January and September. Read full review
67
Austin ChronicleMatthew MonagleDec 16, 2019
For all its political positioning and explorations of institutional violence, the thing that makes Black Christmas most endearing is the strength of its sisterhood. Read full review
67
IndieWireJude DryDec 12, 2019
Using the hyper-gendered spaces of college Greek life as a fertile palette, Takal and her co-writer April Wolfe skewer toxic masculinity, the white male literary canon, rape culture, patriarchy, and white male rage — all wrapped up with a bow in the stylishly entertaining package of a studio-backed holiday horror. Read full review
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