The new horror-comedy The Blackening pokes fun at the horror trope that black characters die first by taking things a step further asking, “if the entire cast is black, then who dies first?” A group of old college friends gathers for a Juneteenth reunion only to be forced into a life-or-death situation involving a mysterious board game and a savage killer. Think Saw meets Jumanji. This is a pretty basic setup but  Tim Story directs an energetic ensemble through a consistently clever script by Tracy Oliver, and Dewayne Perkins to deliver a film that succeeds more than it falters.

As the film begins, the lure of a nostalgic reunion and the expectation of good times brings everyone to a remote cabin in the woods. Red flag number one are the words “remote” and “cabin”. In one car, Lisa (Antoinette Robertson), her gay bestie, Dewayne (Dewayne Perkins), and her girlfriend Allison (Grace Byers) ride along the winding road that leads further into nowhere. We learn about their interpersonal dynamics along with the news that Lisa’s ex, Nnamdi (Sinqua Walls) will be at the cabin with his friend King (Melvin Gregg), and that news doesn’t go over too well. Next, we watch as scene-stealer Shanika (X Mayo) runs into Urkle prototype, Clifton (Jermaine Fowler) at a roadside convenience store. They too are headed to the party and both do what they can to avoid the creepy locals working the store.

Everyone gets to the cabin and we are treated to the required exposition that will fuel the movie later. The group wanders the property and they discover a room that is festooned with all types of board games. Centerstage, on a single table, is a game called The Blackening. With a garishly offensive Sambo centerpiece, the game takes control of the get-together, sending the group into a lethal game involving black history, a suspicious park ranger, and a crossbow-wielding psychopath.

Tracy Oliver and Dewayne Perkins ride the fine line between commentary and outright satire with their script. This isn’t “Scary Movie” goofball humor, nor is it the reserved Academy-friendly observations of Jordan Peele. Oliver and Perkins’ script is a witty love letter to horror despite the genre’s previous missteps. The structure is there to allow the wonderfully talented cast to do their thing and really coalesce as an ensemble. While everyone is great in their roles, you can never look away when Mayo is on screen. She owns every scene she is in and delivers some of the best moments. She is quickly followed by Fowler as the nebbish Clifton and Robertson who gives us typical final girl vibes with plenty of surprises.

I liked The Blackening a lot, I didn’t love it. Mind you that is praise. There is about three-quarters of the film that works, the other bits tend to weigh things down. After all of the obvious jokes are exhausted and we begin to need resolution, the film stalls. The cast and Story‘s lively direction keep things watchable but it’s not enough to mask the noticeable dip in the third act. This lull is brief and things pick back up for a satisfying conclusion.

The Blackening is a hell of a lot of fun despite minor flaws. The biggest strengths are its talented cast and Oliver and Perkins’ clear love for the horror genre. This is crowd-pleasing, cheer-inducing, gut-busting horror comedy that finds the right mix of scary, funny, and self-awareness.

7 out of 10