Manual Tales of the Hood

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Season see all. Demon Knight is the most polished of these four films and is, therefore, a greater fan favorite it also has the namebrand recognition that comes from being associated with HBO's Tales From the Crypt TV series.

Still, I want to talk with you about why a movie as clunky and imperfect as Tales From the Hood 2 feels kinda-sorta vital. I like the DIY spirit of the table-setting speech at the start of "Good Golly," the first of the film's four segments not including the wrap-around "Robo Hell" sketches. Henry-style moralism with Bill Cosby-style hectoring about the perils of passing in a world dominated by straight white men. Don't be a stereotype, kids, you're just giving them what they want!

But also: Don't kiss their ass too much, it's just giving them, uh, also what they want! Like the other Tales From the Crypt -influenced black horror films that came before it, Tales From the Hood 2 takes aim at inauthenticity and double standards in American culture. This one just happens to adopt a kitchen sink approach that includes "Cards Without Humanity"-playing lady vampires, giant murderous Gollywog dolls and killer robots that shoot red, white and blue laser beams.

I'd continue by commending Tales From the Hood 2 for marrying lofty ideas with low-brow humor, but I don't think that's such an unusual combination. That's a feature, not a bug, and one that I enjoy quite a bit. The same is true of the film's general creakiness and rough filmmaking.

Many shots are indifferently blocked. And a lot of the acting is pretty rough mostly Caucasian performers who all vigorously, but joylessly, twirl their proverbial mustaches. Still, that's par for the course.

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If this movie were shot on video, like Tales From the Quadead Zone was, I think people might be more forgiving of these qualities. That sort of defensive apology will, I think, be the theme of our conversation. Or my end of this conversation, anyway. I'm very eager to read what you thought. Steven Boone, A.

Uncle Creepy : I was going to agree by saying this movie is crude but effective, but it's not even effective. It's just interesting enough not to hate. It calls back to a segment from the first Tales From the Hood , where black slave-doll-ghosts mobbed a racist Senator. One of those dolls reappears here, in a hat-tip to the original.

The nuttiness of this episode also recalls the first film's delirious Klan-and-gangbanger montage, a furious attempt at fusing buried history with the modern nihilism it created.


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But this is some cold fusion. You know how the original Planet of the Apes movie series got cheaper and yet more ambitious with each film? That seems to be what's happening here, and I'm usually all for that. But those films were made back to back in their time. Tales From the Hood 2 looks and feels as if it were made in the s, despite dishing tales pulled straight out of a Google News feed.

It's interesting to see these subjects handled in the EC style of its s and s forebears, but the collision doesn't feel deliberate or inspired to me. Cundieff and Scott's boldest stylistic choice seems to have been to let the actors heave their lines as if in an unrehearsed student film. After "The Medium," a segment about a white TV psychic who gets possessed by a retired black pimp — a wonderful idea that could have reached lunatic heights worthy of The Thing with Two Heads , but flattens out quickly — we get "The Sacrifice," the film's would-be showstopper, a race parable that has the ghosts of Emmett Till, his mother, the Freedom Summer martyrs, and Martin Luther King Jr.

The concepts it touches are heart-stopping and deeply affecting: We see a mostly realistic re-enactment of Emmett Till's abduction and torture after he was accused of whistling at a white woman in Cundieff intercuts this with the modern black politician's struggle to conceive a child with his white wife. Then a mess of events that combine Get Out with Back to the Future pours this episode's powerful potential into a moralizing session worthy of a maudlin child preacher. That sounds like something I should love. What kept me going aside form our deadline was the inescapable gravity of the film's themes — and Keith David.

Can we talk about how this dude can carry a movie with a guttural laugh and a very musical way of saying "shit"? How do you fit him in the canon of anthology horror maestro dudes? Abrams : David is, in fact, spectacular I'd say he's just below Vincent Price, in that regard. I remember getting chills when I talked with him him for another article. I can't think of any other living character actor who could make my heart skip a beat just by rattling off a string of nonsensical expletives like "The shit! The doo-doo! The poopity-pop! Still: I'm surprised at your general reaction, especially to "The Sacrifice.

It's clunkier than either of the segments you mentioned no thoughts on "Date Night," about the card-playing vampire ladies?

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But again, the rough-ness of "The Sacrifice" doesn't bother me too much; there's something simultaneously touching and exciting about the film's proud tastelessness hehe, "touching and exciting," hehe. I think the film's alienating sensibility and touch-and-go quality is partly excused in "Good Golly," but only really pays off in "The Sacrifice. As a straight white guy, I gotta admit: It's true, you can't really trust me. But the main reason why I mostly though not completely like Tales From the Hood 2 is that it's just smart and crazy enough to be as entertaining as it is, uh, sketchy.

Anyway, back to the above-mentioned prefatory speech, from the "Good Golly" segment. In this sermon — delivered with hammy vigor by Lou Beatty Jr. That conceit reminds me of something comics artist Howard Chaykin once said in an interview and this is a paraphrase : advertising tricks you into thinking that you're smarter than advertising.

Great idea, but why isn't it developed in any meaningful way? The acting in this sketch is, like the thespianing in "Good Golly," a bit much. But never to the point where it upset me. I also mostly like "Robo Hell" because I also enjoy the sound of David's voice and the cornball spectacle of watching a killer robot with patriotic laser beams chase down a boorish white politician named "Dumass Beach. I want to hear more about what you thought of "The Sacrifice.