Two pairs of best friends - Montel & Clyde and Brandy & Adina meet at the party, where Clyde makes Adina think he is very rich and gets her into bed the same evening. When Adina finds out ... See full summary »
Paula Jai Parker
An exclusive all-new interstitial content for the first time in 15 years. See the Cryptkeeper take a blast through the past, decomposing the best of the '70s, '80s, '90s and '00s, on his way to welcoming in 2013.
Rhianne Paz Bergado
A hip hop horror anthology of three tales of terror told by the Hound of Hell (Snoop Dogg) that revolve around the residents of an inner-city neighborhood whose actions determine where they will go in the afterlife.
Four short, moralistic horror vignettes (a la EC Comics) that deal with mostly black characters. The framing story introduces three youths out to pick up a drug shipment at a funeral parlor from the strange director, Mr. Simms. As the three punks wind their way through the parlor, Mr. Simms tells them the last stories of some of his more interesting clients. Written by
Renee Ann Byrd <firstname.lastname@example.org>
David Alan Grier, known during the early to mid 90's as one of the cast members on the sketch show In Living Color (1990), appeared in a very rare non-comedic role as Carl, the very abusive stepfather during the second segment. See more »
Strom unzips his fly, then says, "I'ma piss on his grave," then unzips his fly again. See more »
[the tattooed man has just been struck by Crazy K's fist after uttering a series of racist propoganda]
Hey, nigger. Those people you killed? What color were they?
[Crazy K's expression changes from wrath to somber reflection]
They were niggers. I know it.
[Tastes his own blood]
You're cool with me, nigger. I like you. I like you a lot.
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Mediocre horror anthology film with one excellent tale
Tales From the Hood, another horror anthology film dripping with EC comics-style ghoulishness, strings together four stories told by a wild-haired, macabre funeral director (Clarence Williams III) to a trio of gangbangers seeking their missing drug stash in a mortuary. Virtually all of the tales are familiar -- walking corpses and voodoo dolls are staples of the format -- but director Rusty Cundieff makes every effort to inject the proceedings with social morality. Child abuse, racism, and police brutality each get a pretty heavy-handed treatment, but the last story, involving a voluntary "behavior modification" technique for an unrepentant killer (ala A Clockwork Orange) explodes off the screen. In the film's most powerful sequence, Cundieff serves up a quickly cut montage of unsettling images culled from a number of state historical archives depicting vicious, stomach-churning lynchings meant to deter the rapacious young killer from wanting to harm any more people. It's potent stuff, and makes one wish the rest of the film had this kind of intensity.
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