Tales from the Hood

Plot synopsis:
In South Central, Los Angeles, a trio gang of drug dealers, Stack (Joe Torry), Ball (De'aundre Bonds) and Bulldog (Samuel Monroe Jr.), arrive at Simms' Funeral Home to purchase some drugs from Mr. Simms (Clarence Williams III), the mortuary's eccentric owner. Mr. Simms claims that he found the drugs in an alley and has them safely stored in the mortuary. He asks the dealers to help him get the drugs and, as the four make their way through the building, relates stories about some of his recent "customers". The first casket contains the body of a man named Clarence."Rogue Cop Revelation"During his first night on the job, young black police officer Clarence Smith (Anthony Griffith) is taken by his new partner, Newton (Michael Massee), to the scene of what initially appears to be a routine traffic stop of a well-dressed black man. When Clarence runs the car's license plates, he learns that the man is in fact Martin Moorehouse (Tom Wright), a city councilman and black rights activist who has recently been on a crusade against police corruption. Clarence watches in horror as Newton, along with fellow officers Billy (Duane Whitaker) and Strom (Wings Hauser), brutally beat Moorehouse with their nightsticks and vandalize his car. When Clarence insists that Moorehouse should be taken to a hospital, two of the officers appear to agree.Clarence tells Newton that Billy and Strom should be reported for what they did, but Newton tells Clarence that officers are not to break "the code". Strom and Billy drive Moorehouse' car to the docks. Strom shoots the battered Moorehouse up with heroin, plants some in his car, then pushes it into the water with Moorehouse still inside. Moorehouse is posthumously labeled a hypocrite.One year later, Clarence has left the police force and is now a guilt-consumed drunk. On a walk in his neighborhood, he sees a mural of Moorehouse. Clarence then has a vision of a crucified Moorehouse haunting him with the words "Bring them to me!" In response, Clarence convinces the three police officers involved in the death to meet him at Moorehouse's grave.Once there, the officers begin to insult Moorehouse, with Strom urinating on Moorehouse's grave and then ordering Billy to do the same thing. As Newton and Strom prepare to kill Clarence, a zombie-like Moorehouse bursts from the grave to drag Billy beneath the ground by his genitals. Moorehouse's coffin bursts from the ground, opening to reveal Billy's mutilated corpse with Moorehouse clutching Billy's still-beating heart.Strom and Newton flee in horror. A lengthy chase ensues, with the two cops fleeing by patrol car. As Newton is driving the vehicle, Moorehouse jumps on top of the vehicle and decapitates Strom. Terrified, Newton exits his vehicle. With Moorehouse still on top of the patrol car and carrying Strom's head, Newton shoots the gas tank, causing the patrol car to explode. Moorehouse then chases Newton into an alley, where he telekinetically throws used hypodermic needles into the cop's body, pinning him to a wall mural. After Newton is killed, his body melts into the mural, becoming a painting of himself crucified.His vengeance nearly complete, Moorehouse accosts Clarence, asking him why he did not help him when he was being beaten. The story ends with Clarence in a mental hospital. Two orderlies outside his cell mention that he killed the officers and that he used to be an officer himself. Moorehouse is never mentioned.Stack, Ball, and Bulldog think Mr. Simms is crazy after hearing the story. After they look at the second casket, Mr. Simms tells them about a boy named Walter."Boys Do Get Bruised"Walter Johnson (Brandon Hammond) is a quiet and sensitive boy who shows up to school one day with bruises around his cheek and eye. Walter's caring teacher, Richard Garvy (Rusty Cundieff), notices the bruises and asks what happened; Walter claims that he was attacked by a monster. A few days later he again shows up with a bruised arm. While the other children play, Walter sits inside and draws a boy named Tyrone, one of the school bullies. Walter crumples the drawing up causing Tyrone to suffer spontaneous injuries.Later that night Mr. Garvy visits Walter's home and asks Walter's mother, Sissy (Paula Jai Parker), about the monster. Sissy claims that Walter's injuries are the result of his own clumsiness; she then tells Walter not to reveal anything about the monster to anyone else.As Mr. Garvy is leaving, Sissy's boyfriend, Carl (David Alan Grier) comes home: seen through Walter's imagination, the audience learns that Carl in fact is the monster. Thinking that Walter has told his teacher about him and called him a monster (a tattoo of the word "Monster" can be seen on Carl's arm), Carl terrorizes Walter and then whips Sissy with a belt when she intervenes.Mr. Garvy turns around to check on Walter and sees Carl abusing Walter and Sissy: Mr. Garvy bursts into the house and begins to fight Carl. With Carl's attention elsewhere, Walter grabs a drawing he made of the monster and begins to fold and crumple it. Carl becomes mangled, helpless and unable to accept defeat. Sissy stomps on the wadded-up paper to end the threat. Finally Mr. Garvy gives the paper to Walter, who burns it, completely immolating Carl. Sissy and Walter look on as Carl burns alive and appear to be relieved to be free from his brutal abuse.Later, Carl's burnt corpse is in the coffin in Simms' Funeral Home. Mr. Simms shows a doll, instead of a corpse, to Ball, Stack, and Bulldog, explaining that it isn't any ordinary doll."KKK Comeuppance"Duke Metger (Corbin Bernsen) is an obnoxious and racist Southern senator (based on the real-life senator David Duke), and a former member of the Ku Klux Klan. The senator is in his office filming a campaign commercial when he sees protesters outside the office: Jewish and African-American groups have teamed up to protest against Duke for being a racist, a former Klansman, and for setting up his office at an old slave plantation. One individual, Eli (Art Evans), warns the reporter that the plantation is haunted by dolls animated by the souls of tortured slaves.Meanwhile, Duke and his African-American "image-maker" assistant Rhodie (Roger Guenveur Smith) notice a large painting of Miss Cobbs, a hoodoo witch, and her dolls. Duke says racial slurs to Rhodie, who attempts to ignore his rantings. Duke also refers to the dolls as "Negro dolls." One of the dolls is seen under the floorboard as Rhodie leaves.While Duke and Rhodie are working on Duke's media skills, Rhodie falls down the stairs to his death (it is later learned that the doll seen under the floorboard earlier was the cause). At the funeral, Eli warns Duke to leave the house before he ends up like his deceased assistant or worse. In the limo after Rhodie's funeral, Duke notices the doll and orders his African-American driver to pull over so he can throw the doll out the window into the street.Later, after noticing a blank spot on the painting, Duke comes in contact with the doll he threw out on the street and has a fight with it. When Duke throws a vase at the doll, it disappears and attacks Duke out of nowhere, trying to eat him. Duke is injured, but he manages to stop the doll by beating it with an American Flag. He also damages the painting, from which blood pours.Duke takes the doll outside to his porch and ties it to a dart board. He then blasts the doll with his shotgun and goes back inside to rant at the painting. But in the midst of his rant, Duke realizes more doll images in the painting have faded to white. After Duke begins chasing several small footsteps throughout the house, he finds the previously blasted doll in the hallway, reattaching its head. The doll attacks again and chases Duke into his office. Duke manages to lock the doll outside and tries to figure out a way to help himself. He sees that the painting has all the doll images faded to white. Terrified, Duke turns around to see an army of dolls. He covers himself in the American flag as the dolls converge and devour him. Miss Cobbs then disappears from the painting and manifests herself in the room, holding the first doll in her arms. Satisfied, they both smile as they witness the carnage taking place before them.Back in the present, the dealers are getting impatient and want the drugs they came for, not wanting to listen to any more of Mr. Simms' strange stories. Ball notices a corpse in another room alerts the others to come and see it. When Simms asks them if they knew the man, Bulldog says it was just someone they had seen around their neighborhood. Mr. Simms explains the final moments of the man known as Crazy K."Hard-Core Convert"Jerome "Crazy K" Johns (Lamont Bentley) is a violent gang member and homicidal psychopath who has killed many people mercilessly. He is driving down the streets of Los Angeles in his Mustang. Coming to a stoplight, he notices the car of an enemy he's been trying to kill for a long time and follows him. Crazy K parks in a neighborhood and has a brief argument with the enemy, then shoots him. In retaliation, three other men attack from a house nearby. The men shoot Crazy K, and just as they are about to kill him, the police arrive at the scene. Due to one of the shooters firing at the police officers, all three gunmen are shot and killed by the officers. Crazy K is badly injured but survives, only to get arrested and sent to prison.As described by a prison guard Crazy K has received a life sentence for suspicion of murder three times along with other charges. Dr. Cushing (Rosalind Cash in her final film role before her death) arrives at the prison and transfers Crazy K to another facility, hidden deep underground. Crazy K meets an inmate (Rick Dean) who is a homicidal white supremacist and raves about killing black people and the end of days for blacks, which upsets Crazy K and causes him to punch him in the face. Then the man asks Crazy K the races of the victims he killed, silencing Crazy K because he, in fact, is guilty of killing African-Americans. The man grows fond of Crazy K and he tells him that there will be a few black people who will be spared as long as they think like him. After speaking to the man, Dr. Cushing reveals that she put him there to meet someone who is just like him.Crazy K is put through a process of torture to have him learn the consequences of his actions. Dr. Cushing tries to make him a new man and help change his violent life of murder. His head (with K printed on the front) is shaved off and he is "clean" if he regrets all his violent actions on other people. Crazy K is put through a slideshow of images involving the KKK and victims of lynching along with gory footage of gang violence and warfare along with a montage showing all those he has killed. Dr. Cushing goes into fact that Crazy K killed many innocent African Americans without remorse or second thought.Crazy K is put through the next stage, in which he is put in a sensory deprivation chamber. He is confronted by all the souls of his victims and must explain why he killed them. He keeps giving true or false answers until it eventually leads to a young and innocent little girl who had nothing to do with Crazy K; she was killed when a bullet from Crazy K's gun came through her wall and hit her in the chest. Crazy K doesn't accept responsibility. Dr. Cushing warns him that he won't get another chance for forgiveness. The souls haunt him more and more, but Crazy K grows increasingly uncaring of his actions. Having refused a chance for redemption for his sins, he is transported back to the moment when he was shot. Crazy K is brutally shot dead by the three gunmen, and the story ends with his corpse lying abandoned on the street."Welcome To My Mortuary" (ending)When the fourth and last story ends, the three drug dealers are revealed to be Crazy K's killers. They become angry and demand to know how Simms knows of their murder as they threaten to kill him and demand their drugs. Simms leads them deep into the funeral home and tells them their "reward" is in three closed caskets, each of which has their corpses inside. The dealers are terrified to learn that they are dead; at the whim of Simms their guns burn red hot, forcing the dealers to drop them.Simms explains that after killing Crazy K, some of Crazy K's "boys" killed them in retaliation. Bulldog then asks Simms why they are still alive if they are dead. Simms, growing more eccentric by the second, tells them that they are not in a funeral home, but in Hell. He transforms into Satan, and the walls of the funeral home shatter, revealing the fiery reality of where they had been all along. The drug dealers scream in horror at Simms' transformation into the Devil. Their fate is to burn in eternal damnation along with others, as Satan laughs.

Tags: violence, murder, blaxploitation

Review:
A white supremacist politician haunted by forces of injustices past highlights the third story, while the fourth focuses on a gangbanger undergoing frightening behavior modification.TALES FROM THE HOOD benefits enormously from solid writing and an entertaining pace.
Though definitely not for all tastes, TALES FROM THE HOOD is a surprisingly solid horror anthology.* *Cast Note: Clarence Williams III, who plays the funeral director, is best known as Linc from THE MOD SQUAD television series..
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.
In the first story, "Rogue Cop Revelation", three white, racist cops murder a black politician; all the while a black police officer is watching the entire thing.
A year later, the politician from beyond the grave contacts the officer so he can get revenge on the cops who killed him.In the second story, "Boys Do Get Bruised", as some people have claimed, is an interesting twist right out of "The Twilight Zone".
The boy tells the teacher he got the bruises from the "monster" that lives in his house.In the third story, "KKK Comeuppance", a former Ku Klux Klansman-turned-politician moves into a mansion that was once the sight of a horrible slave massacre that occurred around the end of the Civil War. There is a lot of distrust towards him, because of his shady history.
It is here that elements of "A Clockwork Orange" begin to come into play.Being African-American myself I feel "Tales from the Hood" is one of the most important "horror" films to come out of the nineties.
The issue of gang violence is something that really needs to be addressed."Tales from the Hood" is a very good movie no doubt, despite its flaws.
But you need to watch this movie, not expecting a horror film, but a very important social studies lesson..
If you're a fan of any of these, I'd have to highly recommend Tales from the Hood, especially if you're also into Blaxploitation, from which it also takes some inspiration.In the time honored tradition of horror/exploitation movies everywhere, the guilty are punished with gory deaths and lessons are learned (frequently too late).
Like The Twilight Zone it is a segmented film (although all directed by Rusty Cundieff) that spans across a good variety of horror genres.
Cleverly (and without being preachy or offensive to white people), Cundieff disguised his agenda with rich characters and a bone chilling conclusion.The HIGHPOINT of this movie for me is the film's proverbial ringleader- a funeral parlor director.
I noticed that the four stories in this movie touched on four topics in today's society: Domestic Violence(David Alan Grier, Brandon Hammond, Paul Jai Parker, Rusty Cundieff), Police Brutality(Anthony Griffith, Tom Wright, Michael Massee), Racism(Corbin Bernsen, Art Evans, Roger Guenveur Smith) and Black-on-black crime(Lamont Bentley, Joe Torry, De'Aundre Bonds, Samuel Monroe Jr., Ricky Harris).
And probably the best horror movie from the hood with a nearly all Afro-American cast ever made (because I can't really say I've ever seen a ghetto-horror flick that was actually any good).
With Spike Lee being executive producer, you can rightfully expect that this movie will carry important themes & topics like racism, politics, police brutality, guilt, child abuse, brothers killing brothers, etc.
The first involving corrupt cops is routine and obvious; the second is a unique take on child abuse that is creative and fairly creepy; the third involving vengeful voodoo dolls is at times shocking, at times corny, but eerie and crafty in its own right; the fourth about gang violence and rehabilitation is highly imaginative and something to marvel at; the film's unique amalgam of horror and social commentary isn't always on target, but the special effects are convincing, and the performances rock solid, making this a fairly impressive showing for all those involved.
Those negatives sound like a typical film made by him.I really liked Clarence Williams III as the funeral parlor director spinning these stories.
I am a big fan of the whole "tales" type of movies and i thought that this film had a great way of taking four horror stories and giving them an urban twist.
Of the 4 tales told int the film i mostly enjoyed "Boys Do Get Bruises" which offered an interesting way of dealing with child abusive by showing how a "monster" doesn't necesarily look like one.
A tribute to movies like "Dr. Terror's House of Horrors" and "Tales from the Crypt", "Tales from the Hood" presents some horror vignettes centering on life in the black ghetto.
It has three urban youths being told a bunch of purportedly "horrifying" tales by a creepy funeral director (Clarence Williams III).The first deals with a black police officer who does not stop his white cop friends from beating a black man to death.
Just barely a horror tale.The third has a Ku Klux Klan man buying an old Southern mansion where he is attacked and killed by little dolls containing the souls of the black people who were killed by whites.The fourth deals with a black youth being cured of his violent behavior with VERY extreme tactics.This is very well-acted and has a few (very few) moments but I mostly hated it.
If you want a good film that tells short stories I would recommend Tales From the Crypt, Vault of Horror, Creepshow (both 1 & 2), and Tales From the Darkside,and skip this..
This was my first horror anthology, followed by several others It's got a decent script, even though some will say 'I've seen all this before' but to me, clichéd doesn't have to mean bad, if the right people are in it/behind and in front of the camera, this was also my first Spike Lee film, so I won't judge it on those merits.
Years before multi-talented filmmaker/comedian/actor Jordan Peele exploded after the success of his directorial debut 'Get Out', director Rusty Cundieff and executive producer Spike Lee also blurred the lines between traditional Horror with the real-life horrors of the Black community; while also having a little bit of fun with its own premise.
'Tales From The Hood' was released timely, during the heightened popularity of urban-black youth films or "Hood Movies" of the 90s; such as 'Boyz n The Hood', 'Menace 2 Society', 'Set It Off', and 'Juice'.
They are greeted by Clarence Williams III, who has an odd manner and tells them four horror stories, that feature clever modern day twists and make some rather important commentry on todays society.
I tried to take this section of the movie seriously, but the director made it very difficult, and the ending had on me the same effect as the ending of 'Training Day' (an EXCELLENT film, but as my friend put it, it looked like Denzel was feeling the Holy Spirit).Oh, and the framing story.
Clarence Williams, III is an excellent actor and does a great job with what he's given, but the idea that three (laughably stereotypical) gangbangers looking for their drugs would sit down and listen as a creepy old guy tells them stories- it's ludicrous.
Aside from Williams, the acting is terrible, and the God-awful special effects that accompany the final seconds of the movie pretty much destroy any impact that the ending may have otherwise had.I realize most people will give this a higher score because it attempts something that is conceptually sound and intriguing: horror from a black point-of-view.
While this movie tends to be very predictable, as stated before by other viewers, and it is somewhat heavy-handed with the racial stereotyping, foul language, and blood and guts, Tales From the Hood does manage to create some good old-fashioned horror in the Tales From the Crypt vein(no pun intended).
Trapped inside a funeral parlor, a mysterious director recounts four tales of supernatural horror to youths attempting to rob him in order to scare them all straight.The Good Stor(ies): Rogue Cop Revelation-After witnessing the brutal beating of a political activist, an honest cop finds himself tormented over whether or not he should squeal on his fellow officers who committed the crime.
Then it gets to the fun, frantic action and this one gets far more interesting as the doll comes alive and gets vicious, violent and quite intense which makes this one of the better segments.Hard Core Convert-After a series of gang-related offenses, a black youth finds himself in jail with plenty of enemies due to his criminal past.
"Tales from the Hood"- A fun but flawed horror-anthology from executive producer Spike Lee..
Even the "Twilight Zone" movie- a film based on the finest horror anthology series of all time- suffered this fatal flaw.Thankfully and happily, 1995's amusing and thrilling urban-themed horror-anthology "Tales from the Hood" emerges as one of the better attempts at a feature-length horror-themed anthology film, thanks to its unique subject matter, some stylish direction, good atmosphere and a few stand-out sequences.
But chances are you'll be having a lot of fun while doing it.The film's wraparound story involves a trio of thug drug-dealers who arrive at a funeral home to purchase drugs from its flamboyant and eccentric owner Mr. Simms (Clarence Williams III).
But things aren't what they seem...The two stand-outs in the film are definitely "KKK Comeuppance" and "Boys Do Get Bruised." While they do lack a bit of the social commentary and themes present in the other stories, they are by far the most fun and entertaining entries here.
In particular "KKK Comeuppance", which is just a great little throwback to killer-doll flicks like "Puppet Master" and "Trilogy of Terror" and also features some of the best horror music composer Christopher Young has ever written.What makes the film lose points for me are the first and final stories, which I found a bit lacking and even borderline monotonous in comparison to the much stronger middle-chapters.
The film is essentially a blaxploitation versions of Tales form the Crypt, telling several horror short stories but with a racially provocative twists.
Clarence Williams III takes on the Cryptkeeper role as a creepy funeral director who tells three drug dealers he's trapped in his place of business four scary stories, each with a twist.
The best two come in the middle of the film, one about a boy who tells a teacher about a monster who lives in his home, which features an uncharacteristically dark role for David Alan Grier, and another story about a racist southern politician, Corbin Bernsen, who gets his comeuppance by a small army of dolls possessed by the spirits of slaves killed on the plantation where he's now set up office.
The first and third stories - where three terrible white cops, one of them Wings Hauser (which is kind of a redundant statement) get picked off and chased by the un-dead corpse of the black activist they killed a year later; and, the least "Hood" set one where Corbin Bernsen plays the slimiest mix of David Duke (marking this as a Spike Lee production that beats out making fun of David Duke in Blackkklansman by 23 years) and Donald Trump (that hair!) as he is surrounded by tiny black devil dolls - are the major highlights.The second story has the benefit of David Alan Grier (or should I say here, David Alan DAMN) though he's only on screen for seven minutes as the "Monster" that keeps attacking a boy and his mother, though it takes time to get to the finale and up until then dances around what is a bit of an obvious conflict.
And the fourth ends up tying in sort of with the wrap-around conceit of the three guys looking to get "the S***" from Clarence Williams III, and is basically a way more preachier Clockwork Orange but with a gang-banger instead of Little Alex and lots and lots of strobe light effects (seriously, if you have that kind of seizure-inducing reaction to stuff like Incredibles 2, well, you've been warned).It's the one segment that feels too...
It shouldn't bother me so much, but it's the one segment that ages the worst in a film that on the whole really feels alive and angry and has a lot of potent things to say - at least in a consistent EC Horror comics way - about things like police brutality and abusive parents and reparations from slavery - and it's a movie that tries a lot harder (those stop motion dolls nearly steal the show) than it needed to for a flick that had a title sort of capitalizing on the formula of the period.This has cajones, Clarence Williams eating the entire set whole and asking for seconds, and the very ending made me want to applaud..
For the most part this is like most anthology films out there and the fact is that each story has good and bad elements.
For the most part though, TALES FROM THE HOOD is an interesting horror film and one that's worth watching.The best thing about the movie is its cast, which has some very good performances throughout.
The second story has an interesting twist and features the best performances but I'm not sure it should be in a horror movie.
The fourth story is certainly the weakest as it just comes across as a wannabe version of A CLOCKWORK ORANGE.As a horror film the movie isn't all that strong as there's certainly no scares and I'd argue that there's not enough blood or horror elements.
Tales From The Hood is a terrific and underrated Horror anthology that combines fine direction,a good cast,a memorable score and great special make-up effects.
All of those elements make Tales From The Hood a great Horror Anthology and one of the better Horror films of the 1990s.Tales From The Hood tells the story of three Black youths who have come to a funeral home to purchase some drugs from the funeral home's owner Mr. Simms(Clarence Williams III).
While at the funeral home Mr. Simms tells the three youths four different tales of Horror about death,revenge and madness.During the early to mid 1990s when Horror films was seen as "dead" and African-American cinema and Hood/Urban films were being made saw the release of Tales From The Hood,a fantastic Horror Anthology that is one of my favorite Horror Anthology movies and is one of the better Horror films of the 1990s that has thankfully earned something of a Cult status among Horror fans.
Tales From The Hood takes it's inspirations from Movie and TV Anthologies such as The Twilight Zone,EC Horror Comics,Tales From The Crypt,Creepshow(1982)and other Horror Anthologies before it but what sets Tales From The Hood apart is the African-American aspect and how the movie in a thrilling,scary and suspenseful way with bits of dark humor mixes together Supernatural Horror with an urban style and social commentary of a Spike Lee(who executive produced the movie)film talking about real life issues such as Racism,police brutality,child abuse and gang violence which Tales From the Hood stand out from other Horror Anthologies.
The movie gets off to a great start with the first tale Rogue Cop Revelation,a revenge story about police brutality and murder involving a civil rights leader,a young and naive Black rookie cop and three corrupt racist Cops.
Boys Do Get Bruised is probably the most clever and imaginative written of the four stories giving a interesting take on a monster story that is like a Twilight Zone episode but dealing with child abuse with multiple twists and turns(you'll see)at the end of the tale.
Great effects,K.N.B.In final word,if you love Horror films or Horror Anthologies,I highly suggest you see Tales From The Hood,a terrific and underrated Horror Anthology that is worth your time.
Once you see that Spike Lee was drafted in as an executive producer, the social elements of the movie become contextualised to a greater extent.The topics of the cautionary tales cover areas such as police brutality and racism withing law enforcement (Rogue Cop Revelation), domestic abuse against women and children (Boys Do Get Bruised), racism within politics (KKK Comeuppance) and the futility of gang culture and the violence it creates (Hard Core Convert).
All are delivered with a supernatural twist which places the movie strongly into the horror genre and making it not only groundbreaking, unique for it's time, but also helps it to maintain a strength when watched today.I was aware of the soundtrack before I was aware of the film itself as it was given to me shortly after its release in 1995, it would be a couple of years before I was able to track down a VHS copy.
Tales from the Hood is a unique film...kind of a Black spin-off on "Twilight Zone" or "Night Gallery" TV shows.....the stories starkly displaying the horrors and injustices of Black life and those who inflict those horrors...from present inner city scenarios to past slave times.
After coming off of the hilarious "Fear of a Black Hat", director Rusty Cundieff gives us a look at horror in the streets in "Tales From The Hood".
This 1995 horror anthology film stars Clarence Williams III, Corbin Bernsen, Tom Wright, Lamont Bentley and Rusty Cundieff.
As a white American, I view this movie a lot differently than its intended audience...lemme tell you why.The movie is basically a Tales From the Crypt like setting with a black cultured twist.
Its your basic police brutality and one of the weaker stories because its not very realistic, which I thought this movie was supposed to be.Tale 2 is the second best in my opinion.
Back in 1995, I was told about a little movie that featured horror tales from an African-American perspective.
It speaks on "black on black violence" in the African American community and while studying other people's comments about this film, I heard that it draws similarities from "A Clockwork Orange." Even though I said "Tales from the Hood" is the scariest movie I've seen it was still rather quite boring.