BLACK CHRISTMAS (2006)

is an unfairly underrated holiday-horror schlockfest that deserves a widespread critical reevaluation, especially considering its Unrated Cut. Directed by Glen Morgan, the film initially received criticism for being a cheap, soulless, and forgettable remake, lacking any redeeming qualities. However, recent discussions and reviews have shed new light on its merits, making it worthy of reconsideration.

In the mid-to-late 2000s, movies like Glen Morgan's Black Christmas remake were often considered inferior when compared to their predecessors. However, the passage of time has allowed for a reevaluation of these films. It has become apparent that even seemingly unremarkable romantic dramas or comedies from that era possessed a greater visual appeal and artistic craftsmanship than many contemporary blockbusters. In this context, Black Christmas (2006) stands out as an exquisitely directed slice of holiday horror that embraces campiness, excessive gore, and schlock. It takes a 180-degree turn from Bob Clark's original film, which was characterized by desolate despair and gut-churning dread rooted in gritty reality. Instead, the remake opts for a hyper-stylized Grand Guignol bloodbath of gloriously trashy abandon and excess. However, despite this departure, the film is still crafted with consummate skill, love, and joy for the genre.

Glen Morgan's experience working on the Final Destination series is evident throughout Black Christmas (2006). The film shares common traits with the franchise, such as a boisterous score by the late Shirley Walker, visually appealing cinematography by Robert McLachlan, and even the presence of Mary Elizabeth Winstead, known for her role in Final Destination 3. However, the most significant connection lies in Morgan's obsessive attention to detail. Almost every scene and set becomes an opportunity for the omniscient camera to explore the surroundings in greater detail than the characters themselves. This approach creates a sense of Hitchcockian dramatic irony, with countless insert shots of extreme close-ups on pertinent props and pieces of production design. The audience's focus is drawn to examining every potential source of danger hiding in every nook and cranny, as well as the intricate chain of causality that could lead to a death resulting from a cascade of snowballing accidents or intentionally placed causes of harm.

From the opening scene featuring an orderly's trolley rocking a milk carton onto the floor, which then jams open the door to the asylum ward, causing the milk to burst out, it becomes clear that this film could easily set up one of Death's elaborate "accidents" in a Final Destination movie. Such moments are peppered throughout the rest of the film, contributing to its overall enjoyment. It is refreshing to witness the effort put into creating a gorefest B-movie purely for the sake of entertainment, as the filmmakers went above and beyond what was expected of them due to their genuine love for the genre.

Black Christmas (2006) is a blend of dynamic camerawork, suspense reminiscent of Hitchcock, pulpy and sordid bonkersness akin to Brian De Palma, vibrantly colored giallo excesses reminiscent of Dario Argento, a proclivity for abundant eyeball trauma reminiscent of Lucio Fulci, and the mordant blood-soaked wit of Sam Raimi. While it is not without its flaws, such as multiple endings and cuts resulting from a troubled production, the film manages to captivate audiences and deserves recognition for its unique approach to the horror genre.

It is worth noting that the Unrated Cut of Black Christmas (2006) remains relatively elusive, with limited availability on a 3-disc German Blu-ray release. Fans hope that respected film restoration companies and premium home video distributors specializing in cult classics and obscure horror movies, such as Arrow Video, 101 Films, 88 Films, Powerhouse Indicator, and Vinegar Syndrome, will eventually acquire the rights to release a more widely accessible Blu-ray edition. This would allow a larger audience to experience what they have been missing. The situation is particularly pressing in the UK, where the only available version is the inferior European Cut, which does a disservice to the film.

In conclusion, Black Christmas (2006) defies expectations and warrants recognition for its unique and visually captivating take on the horror genre. It serves as a reminder that films of this nature were made differently in the past, with a level of craftsmanship and artistry often absent in contemporary cinema. While the original Black Christmas (1974) remains the superior film, the 2006 remake proves to be a worthy addition that surpasses its reputation as a mere bad remake.