Honestly, if you go look at the reviews for the black christmas movie 2006 remake right now, you’ll see a bloodbath. Critics absolutely hated it. They called it "unnecessary." They called it "grotesque." They basically treated it like coal in a stocking. But you know what? Those critics were mostly looking for a shot-for-shot remake of Bob Clark’s 1974 masterpiece, and when they didn't get a slow-burn psychological thriller, they threw a fit.
It's a weird movie.
Directed by Glen Morgan—one of the masterminds behind The X-Files and Final Destination—this film doesn't care about subtlety. It’s loud. It’s neon. It’s deeply, strangely obsessed with family trauma and cookies made of human flesh. While the original movie pioneered the "slasher" genre by keeping the killer in the shadows, the 2006 version drags the killer into the light, paints him yellow, and gives him a backstory that would make Freud quit his job. It’s a maximalist nightmare that works way better than people give it credit for.
The Chaos of the Black Christmas Movie 2006 Production
Making this movie was a mess.
Dimension Films, led by the infamous Bob and Harvey Weinstein, were notorious for meddling in horror productions during the mid-2000s. If you’ve ever wondered why the pacing of the black christmas movie 2006 feels like a fever dream, you can blame the editing room wars. Glen Morgan had a specific vision for a dark, grimy, yet visually vibrant slasher. The studio, however, wanted more gore, more kills, and more marketable "teen scream" energy.
The result is a hybrid. You have scenes that feel incredibly atmospheric and Gothic, like the opening shots of the sorority house in a snowstorm, mashed up against extreme, almost cartoonish violence.
Dimension was so worried about the movie's reception that they allegedly forced reshoots to change the ending and add more "action." This explains why some of the trailers feature footage that never actually made it into the theatrical cut. For instance, there’s a famous shot of a girl being dragged under a frozen pond that is nowhere to be found in the film. It’s a miracle the movie is as cohesive as it is, given that the people holding the checkbook were trying to turn it into something it wasn't.
Visuals That Actually Pop
Most horror movies from 2006 look like they were filmed through a dirty gym sock. Everything was desaturated, grey, and miserable. But this film? It’s a Christmas ornament dipped in blood.
The cinematography by Robert McLachlan is genuinely impressive. He uses a color palette of deep reds, toxic greens, and bright golds. The sorority house doesn't feel like a house; it feels like a stage play. Everything is over-decorated. It creates this sense of claustrophobia. You’re trapped in a festive prison.
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The use of "Dutch angles" and wide-angle lenses makes the environment feel distorted. It matches the deteriorating mental state of Billy Lenz, our resident killer. It’s not "prestige horror," sure. But it’s stylistically consistent in a way that most slashers of that era—think One Missed Call or the Prom Night remake—completely failed to be.
A Cast That Deserved Better
Look at the lineup of women in this movie. It’s a "who’s who" of 2000s genre royalty.
- Katie Cassidy: Before she was a staple on the CW, she was a great "final girl" type here.
- Mary Elizabeth Winstead: Coming off Sky High and Final Destination 3, she brings a groundedness to the role of Heather.
- Michelle Trachtenberg: Post-Buffy, she plays the "mean girl" with a sharp edge that’s actually pretty funny.
- Lacey Chabert: Yes, Gretchen Wieners herself gets a gruesome exit.
Then you have Andrea Martin. This is the coolest bit of trivia for fans of the original. In the 1974 version, Andrea Martin played Phyllis, one of the sorority sisters. In the black christmas movie 2006 version, she returns as the housemother, Mrs. Mac. It’s a passing of the torch that feels earned. She brings a weird, alcoholic energy to the role that provides some much-needed levity before things go south.
The Controversy of the Backstory
The biggest complaint people have about this movie is Billy.
In the original, we never see the killer's face. We don't know why he's doing what he's doing. He’s just a voice on the phone—"The Moaner." It’s terrifying because it’s anonymous.
The 2006 remake does the exact opposite. It gives us a 15-minute prologue explaining that Billy was born with jaundice (hence the yellow skin), was abused by his mother, and eventually killed his family and turned them into Christmas treats.
Is it "too much"? Probably.
But in the context of mid-2000s "torture porn" and the rise of extreme horror, it fits the zeitgeist. It turns the movie into a dark fairy tale. It’s more Hansel and Gretel than Halloween. By making Billy a physical, monstrous presence, Morgan turned the film into a "creature feature" masked as a slasher. It’s a bold choice. It’s gross, yeah. But it’s not boring.
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Why the Critics Were Wrong (Sorta)
Timing is everything in the film industry.
When this movie hit theaters on Christmas Day 2006, the world wasn't ready for "trashy fun." The 1974 original had just been rediscovered by a new generation as a high-art blueprint for the genre. Critics felt the remake was a slap in the face to Bob Clark’s legacy.
But if you watch it today, removed from that baggage, it’s a blast.
It’s a mean-spirited, high-energy, visually distinct slasher that doesn't overstay its welcome. It clocks in at under 90 minutes. It knows exactly what it is. It’s a "popcorn and a beer" movie. While the 2019 Blumhouse remake tried to be a social commentary (and largely failed to be scary), the 2006 version just wanted to be a nightmare.
The Sound Design: More Than Just Creepy Calls
We have to talk about the phones.
The original used the landline as a weapon. In the black christmas movie 2006 update, they used the burgeoning technology of the time. Cell phones were becoming ubiquitous, and the movie plays with the idea that you can't just "unplug" anymore. The sound of the phones ringing in this movie is intentionally harsh. It grates on your nerves.
The score, composed by Shirley Walker, is also a highlight. Walker was a legend—she worked on Batman: The Animated Series—and she brings a gothic, orchestral weight to the kills. It’s not just synth stabs. It’s a full-blown opera of death. It elevates the movie from a "teen flick" to something that feels more grand and operatic.
The "Eye" Scene and Creative Kills
If you’ve seen the movie, you know "the eye scene."
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It involves a glass unicorn. It’s one of those moments that makes an entire theater groan and look away. This is where the movie excels. The kills are creative. They use the Christmas theme to the fullest extent. Icicles, tree toppers, fairy lights—everything is a weapon.
Most slashers get lazy with the kills. They just use a knife. This movie uses the environment. It’s almost like a Home Alone horror parody where the traps are set by a cannibalistic maniac instead of a 10-year-old boy.
What to Look for During a Rewatch
If you’re going back to watch the black christmas movie 2006 this December, keep an eye out for the different cuts.
There is an "Unrated" version that adds a bit more gore and a few character moments. It’s the superior way to watch it. You get a better sense of the geography of the house. You also get to see more of the bizarre "yellow skin" makeup work on Billy and his sister, Agnes.
Also, pay attention to the background. Morgan hides things in the shadows. There are several shots where characters are talking in the foreground while Billy or Agnes is visible in the distance, just standing still. It’s a nice nod to the original’s "the killer is already in the house" tension, even if the rest of the movie is much louder.
Actionable Steps for Horror Fans
If you want to actually enjoy this movie for what it is, you need to change your approach.
- Don't compare it to 1974. It’s not a sequel. It’s not a tribute. It’s a reimagining. Think of it as an "Elseworlds" story.
- Watch it with a group. This is a communal movie. The "gross-out" moments work better when you have people to scream with.
- Check out the extras. If you can find the Blu-ray, the "making of" documentaries are fascinating. They detail the studio interference and how the cast felt about the frantic shooting schedule.
- Pair it with a double feature. Watch the 2006 version alongside something like Krampus or Inside. It fits that "holiday horror" vibe perfectly.
The black christmas movie 2006 is never going to be an Oscar winner. It’s never going to be "rehabilitated" by Criterion. But it is a fascinating piece of 2000s horror history. It represents a time when studios were willing to put real money into weird, R-rated slashers with name-brand casts. It’s messy, it’s loud, and it’s covered in fake snow and real blood. And honestly? That’s all a slasher really needs to be.
If you’re tired of "elevated horror" where everything is a metaphor for grief, go back to 2006. Watch a guy with jaundice escape an asylum to eat Christmas cookies made of his mother. It’s exactly as wild as it sounds.
To get the most out of your viewing, track down the unrated collector's edition from Scream Factory. It restores the director's intended color timing, which makes those reds and greens look even more vibrant than they did in the muddy theatrical release. Pair the movie with the 1974 original to see just how much the genre changed in thirty years—from the quiet dread of the 70s to the neon-soaked excess of the mid-aughts.