The waiver in front of us was required to enter The Satanic Panic Room, a team-based escape room challenge, and one of the most talked-about installments of this year’s Fantastic Fest in Austin, Texas. If it sounds like the setup of a pretty great horror movie, it’s not far from the truth. In front of each of us sat a legal document, waiting for our signatures - which were required if we intended to go any further. Any filmmaker looking to attempt a future horror comedy should take notes.I sat down at a special table with a ‘Reserved’ sign in the center, surrounded by three people I’d never met. “The Blackening” blends horror and comedy to leave audiences in a state of simultaneous laughter and terror, all within a comfortable hour-and-a-half runtime. The actors build complete character backstories and make every action and decision feel realistic, from emotional responses in moments of distress to decision-making in life-or-death scenarios. This is largely due to the actors’ excellent cast chemistry and meticulous character-building. There’s not a single bland character among the bunch, and every subplot and story arc revolving around the protagonists stays enjoyable throughout the runtime. The movie even directly references Black actors in horror, like Jada Pinkett Smith’s appearance in the “Scream 2” cold open.Īlthough a common issue with slasher comedies concerns weak characters, this can’t be said for “The Blackening.” Every main character is fleshed out well and feels believable. The film’s tagline - “we can’t all die first” - references horror’s problematic handling of Black characters in slashers, as explained by Xavier Burgin’s documentary “Horror Noire: A History of Black Horror” featuring Black horror icons like William Crain and Ernest R. “The Blackening” also incorporates commentary on the Black experience in modern America through characters who express uneasiness in rural towns and interactions with law enforcement. Despite these comedic bits, the movie crafts anxiety-inducing horror sequences, including a scene in which the protagonists are locked in a room and forced to watch the masked killer attack their friend. “The Blackening” includes moments where characters laugh at the unwise choices of ill-fated horror characters only to make the same decisions, like exploring dimly-lit, hidden back rooms. While most horror comedies tend to lean less scary and more funny, the film successfully balances humor and terror. The film takes horror cliches, such as splitting up or using unconventional weapons like rolling pins and other household items, and cleverly and naturally uses them to poke fun at classic slasher movies. While studio-backed horror comedies often rely on exhausted tropes, “The Blackening” tells an original story with its meta-writing and witty plot beats. When a mysterious killer forces them to play a game, they must use their horror knowledge to stay alive and escape their stalker. “The Blackening,” from writers Tracy Oliver (“Harlem,” “Little”) and Dewayne Perkins (“The Break with Michelle Wolf,” “Brooklyn Nine-Nine”) and director Tim Story (“Taxi,” “Ride Along”), follows a group of friends holding a reunion over Juneteenth weekend at a remote cabin in the woods. Ryan Ranc, Life&Arts Senior Film Columnist
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