THE BLACKENING (2022) Movie Reaction | First Time Watch | Grace Byers, Jermaine Fowler, Melvin Gregg

The hosts note that 'The Blackening' intentionally plays with and subverts common horror movie tropes, particularly the expectation that Black characters are often the first to die. By having most of the main Black cast survive, the film turns this cliché on its head, creating a unique comedic and commentary-driven experience.

The hosts discuss how the movie's choice to have most characters survive subverts expectations, stating, 'theoretically every black character survives almost.'

The movie's central deadly game, which requires characters to identify and sacrifice the 'blackest' among them, is highlighted as a powerful piece of social commentary. It satirizes the internal judgments and gatekeeping within the Black community regarding authenticity and identity, forcing characters to confront their own biases and definitions of 'blackness.'

The hosts discuss the game's premise: 'I will spare your lives if you sacrifice the person you deem the blackest to me.' They then analyze the characters' reactions and attempts to prove their 'blackness' or lack thereof.

Clifton's backstory reveals his motivation for the deadly game: a decade prior, his friends ridiculed him for not knowing how to play Spades, leading to his 'black card' being revoked. This humiliation led him to drink, cause a fatal accident, and develop a psychosis centered on proving his 'blackness' and seeking revenge, underscoring the damaging psychological impact of cultural exclusion.

The hosts explain Clifton's reveal: 'You all told me I had my black card revoked and then like it's become my whole psychosis is being furious about this and needing to prove that you guys are just as black as me or I am just as black as you.'

The hosts commend the film's efficient low-budget production, noting its adherence to horror film production tropes like using a single location and a large cast. They specifically point out the distinctive, aggressive blue lens flare from Sirui anamorphic lenses, which contributed to the film's visual style, despite some inconsistency in their use.

Jabby Kay identifies the lens: 'I think I know what lens they shot this with. Is that a well? That's a deep hole. Nice transition. No flare on that.' He later elaborates on the Sirui anamorphic lens and its aggressive blue flare.

The film's ending, where the surviving characters debate calling the police and ultimately decide against it, is highlighted as a poignant and painfully funny commentary. It reflects the real-world distrust and fear within Black communities that calling law enforcement might lead to further complications or negative outcomes for them, even as victims.

The hosts discuss the ending: 'Should we call the police?' and the immediate 'Absolutely not.' They connect this to real-world incidents, including Jonathan Majors' situation, and the stereotype that 'it sucks that it plays into that.'