26/100 (Hakikaten korkunç bir film. 1) Evde yaşayıp kaybolan iki insan var. Gerekirse 30 cm'lik çekmeceleri açıp bakması gereken polisler çatı katını kontrol etmiyor hahahaha. Katil evi kamp olarak kullanıyor. 2) Evde katil olduğu için kaçması söylenen kız katilin üzerine tek başına gidiyor. 3) 10 km uzaklıktaki yurta kablo çekiliyor. 4) Bir çok ceset, şok yaşayan kız olan evden polisler 5 dk'da ayrılıyor... Komik.)
2-3. There's apparently a lot of debate over whether this, Psycho, or Texas Chainsaw was the start of the Slasher genre, but at least stylistically, I think I see more of the DNA of this one in the genre as it was in the 70s and onward than I do the other two, the killer phone calls, the floating killer POV cam, the killer mostly being offscreen, etc. A lot of Scream's DNA seems to come from it, surprisingly.
The first-half of Black Christmas is actually intriguing. No chit-chat, no waiting. This movie showed us the killer is in action and a few minutes later a murder occurred. The next thing is we will curious who is the killer and what his motive. I think that the middle part of this movie seems lost its direction. Sometimes I feel bored. In my opinion it lacks of thrill. But the climax is good and I love that ending...
Pre-dating 1978's Halloween by four years, Black Christmas may well have been responsible for establishing the stylistic foundations for John Carpenter's seminal slasher. The dialogue and performances are far greater than we've come to expect from films of this type and the scenes from the point of view of the killer are genuinely frightening even today. A masterpiece of the genre and criminally underappreciated.
One of the first "slashers". The camerawork in this was awesome. The phone calls are genuinely creepy, as is the fact that we never get to know who the killer is, let alone even see him. While the gorehound in me desired more from the murders, this is a testament to true horror.
Proto-slasher that astonishingly seems to address all the misogyny that will come to haunt that genre. Effective for its realism, eerie tone and well rounded characters. Also quite relevant (detective in phone stacks aside) with threatened men taunting vocal independent women through anonymous media. Creepy and unique as a result of its understated tone.
Un slasher-movie archétypal, qui se regarde encore avec plaisir aujourd'hui pour son côté rétro et quelques très beaux plans. Les personnages sont plutôt hauts en couleur et le film est prenant. Ne manque qu'un peu de profondeur ou de second degré, qui, je suppose, n'arriveront que plus tard dans l'histoire du genre.
Pour les amateurs de cols pointus, de pattes d'eph, de fringues et de coiffures improbables, bref tout le charme des années 70. Et pour les amateurs également du grand Dario Argento, il y a notamment une scène parfaite avec une jolie licorne de crystal... Hum hum Une scène parfaite, je souligne.
This is an important but lesser known early contribution to the American slasher film and its sometimes claustrophobic nature. The camera movements through staircase and corridors are an important motif that seems to have been introduced here and was taken over by other directors. Also Shirley Walker's music has some unusual features in using only the piano inside during the culminations.