A sorority house is terrorized by a stranger who makes frightening phone calls and then murders the sorority sisters during Christmas break.
You may also like
Black Christmas torrent reviews
Brian H (us) wrote: I like the sizzle, but there really wasn't much steak.
Rosie M (de) wrote: Loveed this movie! one of the best of the kind I've seen for sure. but oh so sad >.<
Beth R (ru) wrote: some good moments but overall it's a bit flat.
Scott K (fr) wrote: Everything about the staging is just brilliant. It's just really enjoyable, I don't really know why, nothing really happens at all, but it's just great. Very delicate and evocative. It's supposed to be an homage to Ozu, but it's definitely an original thing altogether. It put me in a very relaxed, happy mood. Hou is definitely a genius.
Adam R (gb) wrote: (First and only viewing - In my mid-twenties)
Blake P (ag) wrote: The characters of Allison Anders's affecting "Gas Food Lodging" (1992) will never know what it's like to be at peace - they'll forever be laboring, forever be too co-dependent to ever live their respective lives completely detached from one another. Dwellers of the kind of small, American town populated by few but visited by tourists on long road trips and hungry truckers aplenty, all they know how to do is live in the moment. Day to day existence is a struggle unlike any other. Because none of them are going to go to college and none of them are going to one day make something of themselves. They're going to be tied down to the food service industry and are perhaps going to get married and have kids out of boredom and obligation. Such aren't cynical notions - presented to us in the film is a character study so immersed in the mundanities of blue collar life that such depressive things don't much seem to be out of the ordinary. "Gas Food Lodging" revolves around the hardships endured by single mom Nora (Brooke Adams) and her two young daughters, the older Trudi (Ione Skye) and the blossoming Shade (Fairuza Balk). Floundering in her raising of them in a trailer park in a minuscule midwestern town, Nora attempts to look for love whilst waitressing, with Trudi using promiscuity and class cutting as methods of escape and with Shade utilizing Spanish matinees as vehicles for introspection. The film transitions between the plights of the trio like minor Altman, and maybe even like the latter's "3 Women" (1977), they sometimes appear to be a single person represented through different identities - Trudi and Shade are essentially embodiments of Nora in her younger years, with Nora standing as the woman her daughters have great potential to become in their middle-age. Not that Anders is going for intellectual convolution - it's that these characters are so well-defined that we can arguably envision who they were and what they'll become. The characterizational definition, effective and sometimes heartbreakingly truthful, makes the viewing of Nora and company's sufferings remarkably compelling. Whether "Gas Food Lodging" is a coming-of-age film is debatable - while we definitively see Shade mature throughout the course of the movie, the conviction that Trudi and Nora are other versions of her are enough to ward off trappings of the subgenre. But I'm also fairly positive than I see the film as being more than it is. Anders in no doubt set out to craft a gritty slice-of-life, and yet I cannot quite stop myself from coming to my analytical conclusions. But watching "Gas Food Lodging" either from an escapist disposition or otherwise doesn't much dissuade it from being the riveting kitchen-sink imitating drama that it is. Anders is compassionate toward her characters and her ensemble undoubtedly understands them. Adams, Skye, and Balk all bring a humanity to their portrayals that distinguish the family as being one everlastingly fighting to reach self-actualization, their flirtations with lash-outs and bad behaviors only effects of their trying to understand who they are. We could watch them go through the motions in the expansive limits of an epic and never lose sight of our caring for them, warts and all. Because hope is always at the forefront of "Gas Food Lodging," it never becomes the disillusioned feature that it could be. One day we hope that Nora will find a man she really loves, get a decent education, and break out of the small world she's found herself trapped in her entire life. That Trudi, despite her being a consistent fuck-up, will learn how to overcome her self-doubts and turn into the success she probably never will be. That Shade, who we immediately decide has a shot at breaking free from her dysfunctional upbringing, will thrive in a place that isn't her pint-sized hometown. Maybe it's all wishful thinking. But we root for these people enough to keep these fragments of optimism, and that's crucial for "Gas Food Lodging's" effectuality.
Ronald P (ru) wrote: Amazing NASA footage put together as if you were with the astronauts.
int hwn (fr) wrote: I liked the movie n the book. there really good.
Edith N (au) wrote: Makes More Sense Without the Last Chapter This is not based on a true story. There are some people who think it is, but they are wrong. Hanging Rock is a real place, but the movie is based on a novel, and the novel isn't based on a true story, either. This means that all the clues about what happened to the women in the story must come from the book/the movie. As it happens, there is a final chapter which did not appear in the published novel, because everyone concerned decided that the story was more powerful without it. This is definitely the case, if what I've read about it is correct. (I haven't read it, but then, I haven't read the rest of the book, either.) The ending that appears in that final chapter is frankly silly. Leaving the ending a mystery--more accurately, I suppose, leaving bits of the middle a mystery--makes the story considerably more interesting. It doesn't do much for me either way, but if they kept the ending, I wouldn't like it at all. A group of girls are students at the private girls' school of Mrs. Appleyard (Rachel Roberts). The girls are celebrating St. Valentine's Day. As part of their celebration, Mrs. Appleyard allows them to go on a trip to nearby Hanging Rock. She does not allow Sara (Margaret Nelson) to go for reasons that I missed, but perhaps a dozen of the other girls go, accompanied by Miss McCraw (Vivean Gray) and Mademoiselle de Poitiers (Helen Morse). It is a hot, lazy afternoon, as befits a summer afternoon in Australia. Most of the girls drift off, and Miranda (Anne-Louise Lambert), Marion (Jane Vallis), and Irma (Karen Robson) get permission to explore the rock. Edith (Christine Schuler) tags along. Young Englishman Michael Fitzhubert (Dominic Guard) watches it all happen. Of the four girls, only Edith returns; Miss McCraw disappears as well. Eventually, Irma returns, but none of the others are ever seen again, and no one can figure out where they've gone. It is a slow, dreamy film. Cinematographer Russell Boyd literally filmed with a swath of veiling over the camera to get the diffuse look he was seeking. There isn't a lot of story to the film. There is only the disappearance of the girls, Michael's determination to figure out what happened to Miranda, the conflict between Sara and Mrs. Appleyard. The point is the disappearance of the lost girls and how everyone responds to it. In many ways, the point isn't even what happened to the girls, which is why it's just as well that the last chapter was left off. And that's inasmuch as this movie has a point at all, which is only slightly true. Characters wander about the film, connected in ways I wasn't able to work out. I think it's probably better explained in the book, but as I said, I haven't read it. I'm not sure if the details on the Wikipedia page come from the book or the movie, either; there are one or two things that I don't remember as being mentioned that are kind of important. I was talking to Graham today about Australian fiction set at the turn of the last century, and one of the points I made was that, depending on the location and class level, they can be almost indistinguishable from British fiction set at the same time. Obviously, it is easy to tell that this is Australia; the town of Woodend, Victoria, is a small one, and the geological formation is very different from that which you'd be likely to find in England. However, the girls get an allowance made for the heat--they are permitted to remove their gloves which actually on the picnic and away from anyone who might see the indiscretion. When Irma is returned, or is found, or whatever you want to call it, her corset is missing. Mrs. Fitzhubert (Olga Dickie) claims this is unimportant and therefore not worth mentioning to the police, which is completely ridiculous, but of course Irma would be ruined if words of the missing corset got out, and in this kind of society, that's far more important. It's possible, if far from certain, that I would have liked this movie better if I had seen it in a different state of mind. I don't have the focus right now for the kind of ethereal piece this is trying for, and that means I'm less inclined to see the beauty of it. And it is pretty enough, in that rugged Australian kind of way. However, I didn't find it particularly interesting. This is the hazard of movie-watching on any kind of schedule. Unless you are exclusively watching what you are in the mood for at any given moment, the mood you are in will change what you think about things. I am tired, overheated, and restless. This means that meandering, moody pieces without much plot are lost on me, even if everyone else thinks they are Classics of Australian Cinema. And it's not as though Australian cinema is exactly normal at its most coherent, after all. It's not Japan, but there's something about those great sweeps of landscape and that isolationist heritage and so forth that produces some decidedly odd movies.
Jeff B (gb) wrote: Really not that bad of a movie at all. Preachy, sure. But it was made in the fifties. What were you expecting? (Made even better by a terrific MSTing.)
Cody C (nl) wrote: A delightfully convoluted film that serves as kind of a precursor to 'Eternal Sunshine', 'Defending Your Life', 'Dogma' and other films that deal with the supernatural or dreams as a bureaucratic mess. Cocteau's interpretation of the Orpheus myth is very creative and modern and different. The only problem is that at times its a little too convoluted for its own good. In other words, it becomes difficult to follow, and not in a 'fun' way, in a 'this part really doesn't need to be so complicated' way. But the majority of the film does work exceptionally well. And some of the practical effects are still impressive to this day. Definitely check it out, it's a great film.
Nick L (de) wrote: I remember how long this felt. Can't recall much else.