#dewayne perkins

[pocfiction]

DEWAYNE PERKINS as DEWAYNE The Blackening (2022) dir. Tim Story

[booasaur]

The Blackening (2023) - Official trailer

[ayoedebiris]

@lgbtqcreators ◆ event 17: horrors & thrillers DEWAYNE PERKINS as DEWAYNE

THE BLACKENING (2022) dir. Tim Story

[blacclotusss]

Mr. Dewayne Perkins!

a.k.a.

Louis' next boyfriend!

Can't wait to write their dynamic ☺

[pygartheangel]

[moviemosaics]

The Blackening

directed by Tim Story, 2022

[bob-belcher]

[creativedifferencespodcast]

There’s nothing quite like a movie made by us for us. The Blackening is one of those movies and deserves a theater experience. Have you seen it yet? Would you live out a horror movie like them? Let us know in the comments and check out our review in episode 254!

[mediamatinees]

"The Blackening" is Millennials' Answer to the Void "Scary Movie" Left

"The Blackening" is Millennials' Answer to the Void "Scary Movie" Left

Content Warning: The Blackening contains racist imagery, drug use, and violence. There’s a great conversation throughout the film about gatekeeping blackness that is campy and fun but also extremely relatable. It’s Rated R, but surprisingly not that graphic. Soooooo . . . viewer discretion is suggested? Spoilers for The Blackening ahead! I’ll admit when I first started seeing trailers for The…

[sweetsmellosuccess]

The original "Scream," released in 1996, was a blast of fresh air precisely because of its masterful recontextualizing of what had become a staid, if not utterly stale, genre, reinvigorating it with a clever blend of meta-based comedy, and suspense, so as to make something that felt new and bewitching (nevermind the lethal overstaying of the franchise's further installments, a fate which befalls many a successful horror flick these days).

Tim Story's "The Blackening," about a group of Black friends from college, reuniting for a Juneteenth celebration at a remote house in the woods, uses a similar sort of formula, only in place of satirizing genre convention, the film is remarkably salient on issues of race and culture, even as it offers up a walloping good time in doing so.

[booasaur]

The Blackening - Official trailer

[trendfilmsetter]

A sequel to the horror comedy THE BLACKENING is in the works

[blacclotusss]

Feel

“D, come on. It's wash day,” Louis whispers as he shakes the man awake.

A groan comes from the man as he flops on his back, “Can't I just watch Donny feel you up all day?”

“I'm with that,” comes Adonis’ voice from behind Louis.

Hair Love

[badmovieihave]

Bad movie I have The Blackening 2022

[moorheadthanyoucanhandle]

CRITICAL RACE FEARY

Now playing:

The Blackening--Eight attractive African-American college friends gather at a fancy cabin in the woods for a Juneteenth reunion. After a short stretch of playing spades and drinking over-sugared vodka Kool-Aid, they quickly find themselves at the mercy of a maniac, forced to play a twisted board game called "The Blackening" with their lives as the stakes.

The game is focused on black identity; the questions involve black history and culture, and the group is forced to single out a victim on the basis of which of them is "the blackest."

The director is Tim Story, who helmed the Ride Along movies. Here he's working with a really well-crafted, intricately funny script by Tracy Oliver and Dewayne Perkins (based on a short by the sketch-comedy group 3Peat) that teases the long and intense love-hate relationship between black audiences and horror movies. It does this less subtly, perhaps, than Jordan Peele's films do, but with a solidly higher ratio of out-loud laughs.

Story generates a fine ensemble buzz with his excellent cast, all of them unknown to me except for SNL veteran Jay Pharoah, and Diedrich Bader as the token "Ranger White." The comedy outweighs the terror here, although the masked, crossbow-wielding killer is a creepy presence. Overall, this movie is the meta-slasher send-up that Scream only thought it was--truly witty, and truly about something.

The Flash--This feature vehicle for the venerable DC superhero has a terrific opening. It involves [spoiler!] a collapsing hospital building, and our harried hero's efforts to corral a maternity ward's worth of newborns plummeting from a window. There's an inventive panache to the multi-tasking gags here that Buster Keaton himself might have appreciated. But the exhilaration of this set piece isn't reflected in what follows.

Launched in 1940 as Jay Garrick with a Mercury-like helmet and rebooted, with the winged cowl, as Barry Allen in the '50s, The Flash can move so fast that he can not only dodge bullets or cross a continent in seconds, he can literally do what Cher only wishes she could do: turn back time. In this story, Barry (a charmingly callow Ezra Miller) decides to go back and prevent the murder of his mother (Maribel Verdú) which of course screws up the space-time continuum. As a result he must team up with a slacker version of himself from a different time-stream to undo the mess he's made, and deal with multiple versions of iconic characters, including Michael Keaton enjoyably returning to the role of a rather Howard Hughes-like Bruce Wayne/Batman.

If all this sounds to you a lot like the "Multiverse" from over at Marvel, I can only tell you it seemed that way to me too, and not to this movie's benefit. Despite some playful uses, the Multiverse's bottomless stockpile of do-overs and variant replacement characters was already getting on my nerves in the Marvel flicks, and this DC spin on it has the same effect: a dilution of the dramatic stakes.

There's some amusement, I suppose, in the many cameos by various versions of the characters, but it's a dorky, narratively inert amusement, more like a Renaissance masque or pageant than an epic. It feels like fan service, of a particularly OCD kind; like Charles V winding and re-winding his clocks, it's a futile effort to synchronize different versions of pop myths that should simply be enjoyed in their wonderfully irreconcilable diversity.

[creativedifferencespodcast]

Y’all ready for some RANGE? On today’s episode, we’re going from Wes Anderson’s Asteroid City to The Blackening. So, basically covering both ends of the Blackness spectrum: not Black at all and as Black as a movie can be. And Black Mirror lands somewhere in the middle, so we’ve covered that, too! How did Demi like her first Wes Anderson movie? Did Colin finally like a season of Black Mirror? And why were there so many white people in our showing of The Blackening? Listen to our new episode for the answers to all of these questions! You can also find us on Spotify and Apple Podcasts!