The “Welcome to the Bloomhouse” series of terrifying features has done well so far in showcasing a variety of emerging talents, if not the relevant social themes in truly scary stories. Another event is “Black Age Night”, which joins “Bingo Hell” on Amazon Prime in the second anniversary of the Halloween release.
Merritt Lee Go’s solo feature-directed debut in “The Lost Boys” is a kind of female African-American spin, which her heroine describes as “I got breasts in the summer and fought vampires.” It works well enough as a teenage supernatural melodrama, if a little silly যুক্ত reasonably flashy কম less good and straightforward as a commentary on horror, race-centered historical, historical, and political issues that don’t seem to stop there.
Fifteen-year-old Shawna (Asha Cooper, who is old enough and much bigger to look at) was born immediately after Hurricane Katrina. That disaster destroyed her family’s previous home, as well as her mother’s stability (Kenesha Thompson). Now the teenage girl lives in a new home with her father and brother, while the drug-addicted mother has exiled herself into an exile housing project where everyone seems to be a businessman or a customer. It’s a place where Shawna dislikes to meet, even more dangerous – as we collect at the beginning, when a man collects reusable items with a shopping cart on ghosts. They don’t want his can, but his blood.
He was soon enlightened on that front. Walking home alone at night from a party attended by gay BFF Pedro (Fabrizio Guido), he similarly spies on another needy man and attacks himself while trying to intervene. Saved by a passing car, he arrives home with a puncture wound to the neck as he speaks. The next day, Pedro scoffs at his claim to be jumped by “a bunch of homeless vampires,” but Shawna’s mother, already … well, stops laughing after becoming “turned” and leans towards bursting into flames in contact with sunlight.
This confirms that vampires exist and are weaker in familiar ways than conventional fiction. To stop an inevitable infestation among the local teenage poor, the teenage couple turned their hands to garlic, silver, wood stains, and so on. And marginal. They understand that the plague is headquartered in a French quarter mansion under French00-year-old Keith David, and also has a rival “good” vampire force led by Sammy Nagy Enjugun.
This is enough conspiracy for a movie. Sherman Payne’s screenplay interprets this as the result of a long-running revolt against slavery and other racist oppression, as the recent post-Katrina African-American population in New Orleans has plummeted. (In their various ways, both “black” and “bingo hell” involve flexibility to push established communities.)
Illustrated in an animated sequence, the backstory of this thought did not look good on paper, yet it could never become integral to the main run. Which, of course, made the video an overnight sensation. Like Jordan Peel’s horror film, these heavy themes rarely fall short of effectively shading the whole narrative, as the saying goes, or the incarnation of “Candyman.”
As a result, none of this comes across as very dangerous, dubious or even believable in terms of his own imagination. It doesn’t help that the movie is a completely unreasonable “favorite diary” নাa style description of Shawna, who is forever asking, “Did this really happen?” Did I just bite a vampire? “
Nonetheless, Cooper and colleagues are quite appealing, and the film moves at a rapid pace with some interesting packaging elements. Even if it doesn’t add up to a particularly cool environment, DP Siebel Martin’s location-shot image has a beautiful color palette by Ryan Martin Duer’s production design. “Black Age Night” goes down very easily, especially in visual terms. But one wishes that the content of its story had enough edges and ballast so that it would not disappear from memory.