Sophia Takal denied disturbing fraternity ritual against nefarious treaty!

Riley refuses to remain silent. Alongside her sorority sisters, she performs a holiday-tinged callout of Brian and his ilk, for whom consent is still not a barrier when it comes to getting their way on campus. Around the same time, fellow MKE sister Kris (an incandescent Aleyse Shannon) circulates a petition to remove a statue of the university’s notoriously misogynist founder, much to the chagrin of Professor Gelson (Cary Elwes), who quotes Camille Paglia screeds and favors the work of white male authors above all else. As holiday break approaches, Hawthorne College feels like a powder keg, particularly when sorority members start mysteriously disappearing.

Director Sophia Takal and co-writer April Wolfe are behind the reboot of a cult classic, which in two previous iterations also featured sorority sisters, albeit in much different collegiate environments. Takal and Wolfe distinguish their film with an in-your-face fury aimed at contemporary campus culture’s negligent approach to sexual assault and the ways in which women are forced to deal in its aftermath. 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.

Much of the film’s delight is in the ensemble setup. The characters in Black Christmas are intimately interwoven; they cook together, study together, handle DivaCups together. Their bodies and personalities spill across one another’s spaces. On an individual level, Riley and Kris get the most distinction, making me wish Wolfe and Takal spent a little bit more time crafting the other sisters’ particulars. Nonetheless, their shared sense of sharp humor makes the horrors that come later feel all the more galling. When the sorority members become the targets of an unknown killer, Riley can’t look away. And when she observes an especially disturbing fraternity ritual, she senses something even more nefarious is afoot.

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