The film stars Imogen Poots, Aleyse Shannon, Lily Donoghue, Brittany O'Grady, Caleb Eberhardt, and Cary Elwes.

[8][9] Development of the project began in June 2019, when Jason Blum announced that he would produce the film through his studio Blumhouse Productions.

As Riley blames Kris for the threatening messages from DKO, Marty argues with her boyfriend Nate and demands that he leave.

Gelson reveals that after Kris forced the bust's relocation, they discovered Hawthorne's plan, involving a spell and the black liquid, to control women.

Helena has been secretly working with the fraternity and stole items from her sisters that allowed the possessed pledges to locate their targets.

Kris sets Gelson on fire and the women and Landon escape, locking the frat brothers inside and leaving them to burn to death.

[14] Also, in June, Sophia Takal was announced as the film's director, having previously worked with Blum on his Into the Dark series for Hulu,[15] while Imogen Poots, Aleyse Shannon, Brittany O'Grady, Lily Donoghue and Caleb Eberhardt were cast in the starring roles.

[4] Initially projected to gross $10–12 million from 2,100 theaters in its opening weekend, the film was released alongside Jumanji: The Next Level and Richard Jewell in the United States.

The website's consensus reads: "Better than the 2006 remake yet not as sharp as the original, this Black Christmas stabs at timely feminist themes but mostly hits on familiar pulp".

[36] Kimber Myers of the Los Angeles Times wrote: "Fans of the original ... might not love writer-director Sophia Takal's take, but Black Christmas is a fun film that gets its kicks out of literally smashing the patriarchy".

[37] Benjamin Lee of The Guardian gave it one out of five stars: "It's quick, cheap-looking and entirely devoid of suspense, atmosphere and dramatic tension, so inept at times that it makes 2006's questionable remake suddenly seem like a misremembered masterwork".

[38] Ed Potton of The Times also gave it one out of five stars and wrote: "The final half-hour brings ludicrous supernatural developments, some astonishing leaps in deduction from Riley and the least dramatic unmasking in screen history".

[39] John DeFore of The Hollywood Reporter wrote: "Unfortunately, Takal's Black Christmas is far more ordinary, a blunt object in a fight demanding either sharp knives or explosives".

[40] Rex Reed of The New York Observer gave it zero out of four stars: "Despite its desperate efforts to justify the homicides, there's nothing remotely innovative or even goofily satirical about it".