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A group of female students are stalked by a stranger during their Christmas break. That is until the young sorority pledges discover that the killer is part of an underground college conspiracy. Directed by=Sophia Takal. Imogen Poots. 
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Online Watch Online, Black full movie 123movies watch"Black"Christmas"HD"englIsh"full"movie"download…. Black christmas download free games. Black christmas download free full. The final girl has been a staple of the genre for decades, but in 2019 female solidarity is how you survive. Ms. Wilson is a newsroom project manager. Dec. 16, 2019 Credit. Kirsty Griffin/Universal Pictures This essay contains spoilers for the 2019 remake of “Black Christmas. ” Before a masked killer invades the sorority house in “Black Christmas, ” directed by Sophia Takal and co-written by Ms. Takal and April Wolfe, the movie shows three Mu Kappa Epsilon sisters happily chatting over holiday dinner preparations. One asks her friends what their favorite animals are, and Marty (Lily Donoghue) chooses the ant. You cant kill an ant, she explains, because theyre all extensions of the others. This statement turns profound at the films climax, when a harried band of women crash into a frat house like Marvels Avengers, stopgap weapons at the ready. They have arrived just in time to rescue the protagonist, Riley (Imogen Poots) from being murdered by a lackey to the man who raped her. In any other slasher film, Riley would be the final girl — the lone young woman clever enough to outlast her peers and scrappy enough to kill the killer (or killers. But in this 2019 remake of the 1974 horror film of the same name — and the second reimagining following a 2006 version — nine other sorority members join her in solidarity to vanquish an army of misogynists. The message is simple: Women need to band together to take down the patriarchy. The original “Black Christmas” features one of the horror genres first final girls. This trope, first outlined by Carol J. Clover in her book “Men, Women and Chain Saws: Gender in the Modern Horror Film, ” typically meets the following criteria: The final girl is virginal or uninterested in dating. She is aware of impending danger before her peers. And she is smart and competent in ways her flirty, flighty friends usually are not, able to rig a whole house with booby traps (as in the original “A Nightmare on Elm Street”) or turn a wire hanger into a weapon (the original “Halloween”. While the final girl had more agency than most female characters in her 70s and 80s heyday (when the women of slasher films were most often topless or dead) she was alienated from other female characters — so much so that she often even had a masculine name. The final girl, like any male action hero, ultimately triumphed alone. The sisterly alliance in the newest “Black Christmas” is even more meaningful given its multiple final girl red herrings. Rileys closest Mu Kappa Epsilon sisters are Marty, Jesse (Brittany OGrady) and Kris (Aleyse Shannon. None of these four women with androgynous names pursue sex, and all are smart, capable characters with unique personalities and interests. But none of them become the final girl. Perhaps most subversively, Kris is a radical feminist hellbent on ridding their college of oppression, including Professor Gelson (Cary Elwes) a misogynistic instructor and an adviser to the evil fraternity Delta Kappa Omicron. She urges Riley, who was met with incredulity from the campus police after reporting her rape, to further challenge campus sexism by signing a petition against Professor Gelson. Kris would normally be a parody, easily mocked and murdered for her alarmist insolence. Here, she is a character to be taken seriously. The patriarchy at Hawthorne College is depicted as especially insidious. And what a patriarchy it is. The frat boys of Delta Kappa, it turns out, are collectively killing sorority sisters in a grab for the halcyon days of male dominance. Led by Professor Gelson and possessed by the spirit of Hawthornes malevolent founder, they believe that womens “true nature” is subservience, while men are “alphas. ” It seems hardly incidental, then, that Professor Gelson, with his eccentric accent and fondness for Camille Paglia, calls to mind the polarizing psychology professor Jordan Peterson. In his best-selling book “12 Rules for Life, ” Mr. Peterson posits that an oppressive patriarchy does not exist. He compares the mating rituals of lobsters, whose females are attracted to male aggressors at the expense of male weaklings, to those of humans. In a blog post on his personal website hes written, “Its been a truism among anthropologists and biologically oriented psychologists for decades that all human societies face two primary tasks: regulation of female reproduction (so the babies dont die, you see) and male aggression (so that everyone doesnt die. ” The solution: heterosexual monogamy, or women coupling with men for the greater good. Mr. Petersons thinking reaches its logical extreme in “Black Christmas, ” where a group of fed-up young men exact violence against the women who denied them their sexual supremacy. Though in that blog post Mr. Peterson says he does not excuse or glorify male violence, such bio-essentialist thinking — that women and men need discrete, gendered roles for society to function, and that those roles naturally empower men — is echoed by Professor Gelson and the Delta Kappas. “Dont you see? ” Professor Gelson asks during the final showdown. “Woman is inextricably tied to man. ” But it is her ties to women, rather than her alienation from them, that gives Riley the strength to survive the film. In an early scene, Marty, Kris and Jesse don “Mean Girls”-esque sexy Santa outfits to perform a number at the Delta Kappa talent show, but Riley feels uncomfortable joining them, knowing her rapist will be in the audience. Kris goads her into the performance: “Be a fighter, ” she urges, “for your sisters. ” At first, it seems like a bizarre exchange — how does a provocative skit empower a rape survivor? — until the groups hidden motive becomes clear. They perform a parody of “Up on the Housetop, ” indicting the fraternity for their date rape reputation. (“Up on the housetop click click click, you slipped me a roofie and then your [expletive. ”) In one of the most enjoyable scenes of the film, Riley becomes a “fighter” through comedic song and dance, with her sisters by her side. In the ensuing showdown between the sexes, its important to note that the women take up arms only for survival; the rest of their combat is rhetorical. As the film ends, Riley tells Kris: “You were right. I should have been fighting this whole time. ” Riley realizes she has the strength to speak up for herself, even in the face of an administration that did not expel her rapist, and the police officers who did not believe her. She can reassert her power, rather than make herself smaller. The women of “Black Christmas” do not just take down one campus villain, they quash an entire patriarchal army — an impossible feat for Riley, our would-be final girl, on her own. When Kris and the other women barge into the frat house before that final blood bath, Kris announces, “You messed with the wrong sisters. ” She is right. Sorority sisters become indistinguishable from radical feminist sisters. Together, these women are unstoppable. Lena Wilson ( lenalwilson) is a newsroom project manager. In addition to The Times, she has written for Slate, Seventh Row and The Playlist. The Times is committed to publishing a diversity of letters to the editor. Wed like to hear what you think about this or any of our articles. Here are some tips. And heres our email. Follow The New York Times Opinion section on Facebook, Twitter ( NYTopinion) and Instagram.
Learn more More Like This Horror, Mystery 1 2 3 4 5 6 7 8 9 10 4. 1 / 10 X A house is cursed by a vengeful ghost that dooms those who enter it with a violent death. Director: Nicolas Pesce Stars: Tara Westwood, Junko Bailey, David Lawrence Brown Action Drama 6. 1 / 10 A crew of aquatic researchers work to get to safety after an earthquake devastates their subterranean laboratory. But the crew has more than the ocean seabed to fear. William Eubank Kristen Stewart, Jessica Henwick, T. J. Miller Biography 6. 8 / 10 A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network. Jay Roach Charlize Theron, Nicole Kidman, Margot Robbie 4. 6 / 10 On Christmas Eve, an escaped maniac returns to his childhood home, which is now a sorority house, and begins to murder the sorority sisters one by one. Glen Morgan Michelle Trachtenberg, Mary Elizabeth Winstead, Lacey Chabert Crime 7. 5 / 10 American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist. Clint Eastwood Paul Walter Hauser, Sam Rockwell, Brandon Stanley 7 / 10 A couple's first date takes an unexpected turn when a police officer pulls them over. Melina Matsoukas Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine 3. 7 / 10 A young governess is hired by a man who has become responsible for his young nephew and niece after their parents' deaths. A modern take on Henry James' novella "The Turn of the Screw. " Floria Sigismondi Mackenzie Davis, Finn Wolfhard, Brooklynn Prince Romance 8. 1 / 10 Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women each determined to live life on their own terms. Greta Gerwig Saoirse Ronan, Emma Watson, Florence Pugh Thriller 7. 2 / 10 During their Christmas break, a group of sorority girls are stalked by a stranger. Bob Clark Olivia Hussey, Keir Dullea, Margot Kidder Adventure Comedy In Jumanji: The Next Level, the gang is back but the game has changed. As they return to rescue one of their own, the players will have to brave parts unknown from arid deserts to snowy mountains, to escape the world's most dangerous game. Jake Kasdan Dwayne Johnson, Jack Black, Kevin Hart 4. 2 / 10 When a young systems engineer blows the whistle on a dangerous technology, Charlie's Angels are called into action, putting their lives on the line to protect us all. Elizabeth Banks Naomi Scott, Ella Balinska Fantasy 5. 7 / 10 A long time ago in a distant fairy tale countryside, a young girl leads her little brother into a dark wood in desperate search of food and work, only to stumble upon a nexus of terrifying evil. Oz Perkins Sophia Lillis, Alice Krige, Jessica De Gouw Edit Storyline 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. Plot Summary Plot Synopsis Motion Picture Rating ( MPAA) Rated PG-13 for violence, terror, thematic content involving sexual assault, language, sexual material and drinking See all certifications » Details Release Date: 13 December 2019 (USA) See more » Also Known As: Black Christmas Box Office Budget: 5, 000, 000 (estimated) Opening Weekend USA: 4, 240, 245, 15 December 2019 Cumulative Worldwide Gross: 18, 529, 730 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia The film-makers reportedly asked Gloria Steinem to cameo, but she declined after being told there wasn't a completed script. See more » Quotes Kris: You messed with the wrong sisters. See more » Alternate Versions The original R-rated version of this film ran 111 minutes, before being edited down to a 92 minutes long PG-13 version released in theaters. See more » Soundtracks Up in the Frathouse Written by Will Blair and Brooke Blair Performed by the Streamline Modernes See more ».
Black christmas download free movies. The movie felt like it was going to be a throwback from the golden age of slasher flicks, but the let down is it was far too tame for that tone. Every time they had the chance to show us some blood and gore they would cut away with just the illusion of it, and this was consistent from beginning to end which may have watered down the suspenfulness of it all. I'll admit, at one point I was even like "oh come on" as I watched it. Pretty sure that this was the point of the movie, but i honestly did not connect with it. It's one of those situation where I was expecting one thing that I like, got something different, but the different did not replace what I came for.
I did like the feminist concepts of the film. I thought this set up help to heighten the fear and made in scary. So it was scary. A little too obvious at some points that they were trying to scare us. Almost a few points in which they were poking fun at the genre but forgot to make us laugh.
It was a good attempt. Maybe history would look founder on this film then I did today. Maybe you have to break a few eggs to make that omelet, but overall I wanted to like this movie once I fully understood the premise but I possibly got turned off the same way any women would get turned off of watching a naked dumb blonde being stalked by a slasher.
Black Christmas download free mp3. Black christmas download free software. Free download black christmas pictures. Black christmas download free music. Ristmas.putlockers Free Download Black Christmas Black release date in india Black Why Black Christmas movie trailer. Black christmas download free youtube. Black christmas download free hd. Trailer Besetzung & Stab User-Kritiken Pressekritiken FILMSTARTS-Kritik Bilder VoD Blu-ray, DVD Zum Trailer User-Wertung 2, 7 13 Wertungen - 5 Kritiken Bewerte: 0. 5 1 1. 5 2 2. 5 3 3. 5 4 4. 5 5 Möchte ich sehen Kritik schreiben Inhaltsangabe & Details FSK ab 16 freigegeben Der Campus des Hawthorne College ist wie leer gefegt, denn Weihnachten steht vor der Tür und die meisten Studenten wollen die Feiertage standesgemäß im Kreis ihrer Familie feiern. Nur Riley Shane (Imogen Poots) und ihre Kommilitoninnen Marty (Lily Donoghue) Kris (Aleyse Shannon) und Jesse (Brittany O'Grady) bleiben zurück und machen sich ein paar entspannte Tage im Haus ihrer Mu-Kappa-Epsilon-Verbindung - oder zumindest war das ihr Plan. Als plötzlich ein unbekannter maskierter Killer Jagd auf sie macht, war es das mit den Feierlichkeiten. Fortan müssen sie sehr genau abwägen, welchem Mann auf dem Universitätsgelände sie trauen können. Denn außer ihnen treiben sich noch Martys neuer Freund Nate (Simon Mead) Rileys Bekanntschaft Landon (Caleb Eberhardt) und der Dozenten Professor Gelson (Cary Elwes) auf dem Campus herum. Die Studentinnen geben sich nicht so einfach geschlagen und setzen alles daran, dem Unbekannten den Garaus zu machen. Remake des Horrorfilms „Black Christmas“ von 1974. Verleiher Universal Pictures Germany Weitere Details Kritik der FILMSTARTS-Redaktion In einer frühen Szene aus Sophia Takals College-Slasher „Black Christmas“ wird die Literaturliste der Vorlesung von Professor Gelson („Saw“-Arzt Cary Elwes) in Frage gestellt: „Natürlich werden fast ausschließlich Bücher von weißen Männern gelesen, das sind eben die Klassiker“, erklären die einen. „Es sind aber nicht unsere Klassiker“, erwidern die aktivistische Studentin Kris (Aleyse Shannon) und ihre Verbindungsschwestern. Gang egal, auf welcher Seite (wenn überhaupt einer) des aktuell speziell an US-Eliteuniversitäten tobenden Ideologiekrieges man selbst steht, zumindest nachvollziehbar sollte der Standpunkt von Kris schon sein: Schließlich haben über Jahrhunderte hinweg nicht nur vornehmlich Männer Bücher geschrieben – es waren vor allem auch überwiegend weiße Männer, die darüber entschieden haben, welche Werke nun Eingang in den Klassiker-Kanon finden und welche nicht. Die ganze Kritik lesen 2:23 2:36 Das könnte dich auch interessieren Schauspielerinnen und Schauspieler Komplette Besetzung und vollständiger Stab Fängt recht solide an und läßt dann leider sehr stark nach. Was zu Beginn noch als "ganz normaler" Horrorfilm ohne besondere Ansprüche durchgehen würde entwickelt sich zu einer abstrusen Mischung aus "wir kritisieren die männliche Vormachtstellung" und wohl irgendwas mit Okkultismus. Enttäuschend. Was war denn das bitte? Angekündigt als "Slasher" bleibt ein pseudo-emanzipiertes MeToo-Stück übrig, das nicht nur unter der Laien-Darstellung der Laien-Darsteller (ja, leider doppelt doof) leidet, sondern auch alles andere als "slashig" ist. Es gibt eine Menge Streifen, denen man ihre hohle Story verzeiht, wenn es einen Gegenpol gibt. Zum Beispiel Horror-Szenen in einem Horror-Film. Konsequent geschnitten sieht man hier aber nix. Und... Mehr erfahren Muito bom esse filme natal sangrento 2019 perfeito pra fã de slasher simples com rituais perseguições lutas e mortes e etc. Politisch korrekter Film - ansonsten vorhersehbar und langweilig - wenigstens nicht in 3 D so das der Eintrittspreis zu verschmerzen ist 5 User-Kritiken 20 Bilder Wissenswertes Re-Remake: Aller guten Dinge sind drei „Black Christmas“ (2019) ist nicht die erste Neuverfilmung des Stoffs: Als „Jessy – Die Treppe in den Tod“ wurde die Geschichte 1974 zum ersten Mal verfilmt, 2006 folgte ebenfalls schon eine Neuverfilmung mit Mary Elizabeth Winstead und Michelle Trachtenberg. Aktuelles 5 Nachrichten und Specials Ähnliche Filme Weitere ähnliche Filme Kommentare.
4:00 PM PST 12/12/2019 by Sophia Takal directs the second remake of a thriller pitting sorority members against fratboys and a mysterious killer. The second remake of a 1974 sorority-themed slasher pic whose director Bob Clark is more famous for a very different kind of holiday film (the singular A Christmas Story) Sophia Takal's Black Christmas sets its sleigh-bell slayings on a small college campus and pits sorority girls against fratboys. Hiring Takal to co-write and direct was a no-brainer for producer Jason Blum and company: Familiar with the territory where thoughtful indie cinema overlaps with genre fare, she recently helmed a thriller, Always Shine, that mixed Lynchian creepiness with a complex feminist take on its protagonists' friendship. Unfortunately, Takal's Black Christmas is far more ordinary, a blunt object in a fight demanding either sharp knives or explosives. Initially a sluggish stalker flick whose undergraduate moral debates are tiresome instead of provocative, it eventually transforms into a patriarchy metaphor as obvious as, well, all those Greek-lettered paddles that decorate both the frat's and the sorority's clubhouses. Like Daniel Robbins' Pledge, released earlier this year, it manages to make the culture of privilege, secrecy and misogyny that intertwines with frat culture ( Not all frats. someone wails desperately in the background) less upsetting than it is in real life. As students at Hawthorne College head home for the holidays, a few remain on campus, most planning to attend a talent show at the Delta Kappa Epsilon house (the frat to which college founder Calvin Hawthorne belonged) before arranging small celebrations with friends who don't have families to go home to. The party is especially fraught for the women of Mu Kappa Epsilon, since one of theirs, Riley (Imogen Poots) was assaulted by a Deke last year. The rapist was never punished, and certainly wasn't disowned by his bros, which begs the question: Why are Riley and her friends going to the party? There's a reason, though not a convincing one. Four of the sisters intend to dress in sexy-Santa costumes and coo onstage, Marilyn Monroe-style, as they deliver what turns out to be a little ditty about sexual assault. The song is clever; the sentiment, dead-on; the scene, nearly impossible to believe. In between all this social drama, we're watching other female students get hunted by a man in a cloak who seems to disappear and materialize elsewhere at will. He will, say, send a woman some stalk-y DMs while she walks alone at night; get her solidly freaked out; then stab her with an icicle as her flailing arms make an angel in the snow. Though the cloaked man starts off at a neighboring sorority, soon he's sneaking around the MKE house, and when Riley's "little sister" Helena (Madeleine Adams) doesn't show up at her family's house, Riley quickly concludes something sinister's afoot. She shares her concern with a campus cop, who fails to see the connection between some vaguely threatening text messages and a friend's being late getting home. In the scene, Poots needs hardly two seconds to show exactly what it feels like to have an authority figure refuse to see what's right in front of him. It's an excellent piece of acting, but it belongs in a more serious drama, in a scene with a cop who's being a lot more blind than this one is. Perhaps not trusting that multiplex audiences are as smart as the art house patrons who saw Always Shine, Takal and co-writer April Wolfe beat the movie's themes into the ground in both dialogue and characterization. One student, the sketchily conceived Kris (Aleyse Shannon) is the designated protester, always hectoring peers to sign her petition of the moment. Recently, she managed to get the school to remove its bust of Hawthorne from public display. (It's now deep within the DKE lair, playing a part in creepy rituals Riley witnesses. Now, her target is an English professor whose syllabus is stuffed with dead white guys: Cary Elwes projects maximum WASPy condescension as Professor Gelson, who insists on teaching "the proper classics" and secretly harbors retrograde ideas about the place of women in society. These many threads of menace and misogyny will eventually lead to a climax where myths of masculine primacy manifest as an overt cult. But first, there's a very long standoff in which the cloaked killer traps our heroines in their own home and hunts them with a bow and arrow. (Nice as a phallic symbol, maybe, but not the most credible choice for indoor slaughter. The script contorts itself to keep this sequence's survivors from going to the cops — because police didn't believe Riley was roofied last year, she thinks they won't accept corpses and destruction as proof the women are being hunted. But that's what's needed to get Riley trapped in the heart of darkness, where men will come out and say the things we've always suspected they believe. Even thoroughly decent men fall under the spell here — a horrifying idea the movie doesn't do justice to. But this black magic is nothing that can't be fixed if you know what symbols of oppression to smash, provided you do so while spouting the right platitudes about sisterhood and defiance. Production company: BH Productions Distributor: Universal Cast: Imogen Poots, Aleyse Shannon, Lily Donoghue, Brittany O'Grady, Caleb Eberhardt, Cary Elwes, Simon Mead, Madeleine Adams Director: Sophia Takal Screenwriters: Sophia Takal, April Wolfe Producers: Jason Blum, Ben Cosgrove, Adam Hendricks Executive producers: Greg Gilreath, Zac Locke Director of photography: Mark Schwartzbard Production designer: Mark Robins Costume designer: Jaindra Watson Editor: Jeff Betancourt Composers: Brooke Blair, Will Blair Casting director: Sarah Domeier Lindo Rated PG-13, 92 minutes.
Black Christmas download free music. T heres 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 years Halloween revival, has come under fire for its lack of female directors, a fact made even worse by head honcho Jason Blums 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, theres an inescapable, palpable sense of hurry throughout the 2019 iteration. Its quick, cheap-looking and entirely devoid of suspense, atmosphere and dramatic tension, so inept at times that it makes 2006s questionable remake suddenly seem like a misremembered masterwork. Whats most surprising, and initially intriguing, about round three is that its ultimately less of a horror film and more of a thinkpiece, a hodgepodge of buzzwords and ideas, aiming high but crashing into the snow. Theres 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 doesnt include enough diversity, and a prank played by Riley and her sisters aimed at calling out toxic masculinity among their male peers. Theres 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 its doing and how clever it is for doing it. But using terms like “white supremacist patriarchy” in every other line of dialogue isnt 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 theyre making the new Get Out but for women. But while Jordan Peeles 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 Its an unwieldy and messy thing, drearily directed and boringly written, taking its agenda seriously yet not providing a robust enough framework to surround it. Its 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 theres an intelligent, self-aware script capable of doing this, cleaning up dusty tropes and dragging them to the present day. This isnt it. Black Christmas is released on 13 December.
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