Cast:
Welcome to My Mortuary (framing segments): Clarence Williams III (Mr. Simms), Joe Torry ("Stack"), Samuel Monroe Jr. ("Bulldog"), and De'Aundre Bonds ("Ball")
"Rogue Cop Revelation" segment: Tom Wright (Martin Ezekiel Moorehouse), Anthony Griffith (Officer Clarence Smith), Wings Hauser (Officer Strom Richmond), Michael Massee (Officer Newton Hauser), and Duane Whitaker (Officer Billy Crumfield)
"Boys Do Get Bruised" segment: Brandon Hammond (Walter Johnson), Rusty Cundieff (Richard Garvey), Paula Jai Parker (Sissy Johnson), and David Alan Grier (Carl)
"KKK Comeuppance" segment: Corbin Bernsen (Duke Metger), Roger Guenveur Smith (Rhodie Willis), Art Evans (Eli), Tim Hutchinson (Councilman Rogers), Christina Cundieff (Miss Cobbs), John A. Cundieff (Funeral Priest), and Erika Hansen (Anchorwoman)
"Hard-Core Convert" segment: Lamont Bentley (Jerome "Crazy K" Johns), Rosalind Cash (Dr. Cushing), Ricky Harris ("Lil' Deke"), and Rick Dean (Racist Inmate)
Directed by Rusty Cundieff.
Review:
The movie's anniversary did slip past by me, but there's always time to redeem oneself. Rusty Cundieff was born and raised in Pittsburgh with an interest in the entertainment business from a young age, with horror being a genre he liked from his days watching Chiller Theatre on late Saturday nights going hand in hand with him participating in plays as a youth that had him liking comedy, and he started doing stand-up in his junior year of high school. He attended Loyola University for his freshman year at college before transferring to USC with an interest in their film and television department, although its lack of great features meant that he took filmmaking courses on the side; he graduated with degrees in philosophy of religion, journalism, and drama. He did a bit of acting and found the experience in working on School Daze (1988) to make him want to direct and write. In 1993, Cundieff wrote and directed his first film with the rap mockumentary Fear of a Black Hat. The basis for his second film came from a one-act play he performed called The Black Horror Show: Blackanthropy. Cundieff and Darin Scott co-wrote the film, which was made with Lee's 40 Acres and a Mule Filmworks. The movie had a mild impact with audiences but for whatever reason, it had a prolonged release on home media in the 21st century, where a DVD release occurred in 1998 that subsequently went out of print before a Blu-Ray release finally came out in 2017. Cundieff has directed for a variety of television shows (most notably Chappelle's Show) and a few films over the prevailing decades and was behind two sequels to Tales from the Hood in 2018 and 2020.
Within a 98-minute runtime features an eight-minute opening to set the stage of what is to come that might remind you of Tales from the Crypt (1972) or The House of the Dead (1978) in coffins and mislaid belief colliding together with a stranger (in this case a group trying to score some drugs); each of the four stories have its own length, with "KKK Comeuppance" running the shortest at roughly 18 minutes while the longest story is the last one at "Hard-Core Convert", which goes 27 minutes. It is clear pretty early that Cundieff wanted to make a movie that actually touched upon issues one could find in their community without being done for cheap scares or jokes that basically meant that the scariest things that could happen to someone if the human things that happen every day. Williams makes for a solid person to set up each of the stories in his daffy energy that is quite infectious and altogether entertaining. You get four pretty solid segments, all things considered. "Rogue Cop Revelation" deals with the fallout that arises when a Civil Rights activist is brutally murdered by a group of cops. It proves to be an interesting one for the eventual comeuppance for its key adversaries that are probably just as likely to exist in the real world as one thinks. Wright is a solid enough crusader from the grave (the best one is when he turns someone into a mural), and the overall endgame that comes from reckoning with action vs inaction is at least a curious one to end on. "Boys Do Get Bruised" deals with a young boy dealing with a monster in his closet that leads the teacher to learn what it really means to draw upon experiences at home. It probably fits the best in being a short segment when you consider that it is actually a segment about the perils of domestic violence, and Grier makes the most of a brief but terrifying enough role. Apparently, the movie was going to get an X rating until a chunk of the domestic violence scene near the end was trimmed. At any rate, it has a neat little ending. "KKK Comeuppance" (as "absolutely informed" by 1975's TV movie Trilogy of Terror) deals with an aspiring politician (and white supremacist) that deals with a few historical dolls. Coincidence or not, when actual racist-turned-politician David Duke ran for Governor of Louisiana in 1992, someone did an anti-Duke voodoo doll on display in New Orleans and a photo was taken of it. Bernsen makes for a delightfully hammy performance in extolling just the type of person that could have confidence in themselves to say what they say and not expect it to boomerang back to them. Sure, you know what is going to happen pretty early on, but it is still fun. Apparently, the last sequence, as done by the Chiodo Brothers in stop-motion animation, was only done because test audiences were not satisfied at the original ending. Clearly, they made the right decision. "Hard-Core Convert" deals with a murderer being given a chance to cure himself by seeing the consequences of his actions literally thrown at him. Amid the gang violence of the time that was depicted in movies such as Boyz n the Hood (1992) is a look upon a violent person seeing both a racist that wants to bond with him because of their apparent shared hatred of black people and then a montage of actual public lynchings and beatings. It probably is the standout segment of the four for how Bentley handles the scenario thrust upon him in all of its bravado and vulnerability as a murderer. In total, what we have is four pretty interesting segments that all want to look upon actual things that happen in people's lives (black or not), whether that involves domestic violence or a lust for violence and make it compelling to see it intersect with the supernatural for macabre effectiveness. In that regard, it is a nice little film that may be right up your alley.
Overall, I give it 8 out of 10 stars.
Next up: the match made for the Devil itself: Exorcist: The Beginning vs. Dominion: Prequel to the Exorcist
