That niche of the horror genre focusing on inner-city terrors has been rife with real stinkers, to say the least. Roll on up to Blockbuster, where copies of VAMPIYAZ and ZOMBIEZ kick back in lounge chairs on the bottom of the video shelf deservedly collecting dust, and you’ll see what I mean. Leave it to Snoop Dogg to clean house and make amends for 2001’s BONES with HOOD OF HORROR, a vigorous and droll triumvirate of gore-drenched urban morality tales linked by a supernatural figure known as the Hound of Hell (played by you know who). Rather than attempt to slip Snoop into a new, untried skin à la BONES, HOOD embraces his pop-culture personality without reserve, “Snoop speak” and all—but that’s just an added bizzle, er, bonus to what makes the film work.
It actually has a certain level of smarts going for it, along with a generous helping of riotous gag FX that outdo many of the envelope-pushing displays of splatter being seen in theaters today. Should I feel embarrassed for enjoying it as much as I do? I’m still trying to figure that out.There’s not much room for subtlety—or restraint, for that matter—in this HOOD. When you find yourself giggling uncontrollably at the sight of a dwarf barfing into someone’s punchbowl, which HOOD delivers on in spades, you learn a few things: One, you’re a sicko. Two, this film isn’t exactly destined to join the echelon of, say, THE EXORCIST. Three, never fall face-first on a 40-ounce. And last but certainly not least, HOOD is camp to the extreme, ladies and gents—pure entertainment that goes for the gag reflex and tickles the funnybone. It’s like the guy at a party who tells the crudest joke possible, offending nearly everyone, yet he does it with enough appeal and style to get the laughs he’s pining for. By quickly identifying HOOD as such, you never once feel cheated or insulted by the splatstick strange brew concocted by scribes Tim Sullivan and Chris Kobin (the poisonous pair who brought us 2001 MANIACS), John McHugh and Jacob Hair.
Each chapter is a supernatural parable of either greed and/or abuse of power; as a whole, it lifts its inspiration from the classic Amicus anthologies as much as it does from TALES FROM THE HOOD, although this film plants tongue more firmly in cheek than its urban predecessor. First up is the swiftly executed story of Posie (the foxy Daniella Alonso), a jaded and crafty gal who is reluctantly snatched away by a mysterious street rat (Danny Trejo, playing it up big) and is granted the gift (through a pretty snazzy tattoo on her right hand) to wash the neighborhood clean of graffiti taggers. Scratching out their handiwork with a swathe of red spray paint, Posie eliminates vandals with Rube Goldberg-like efficiency.
Next is an conscious, f’ed up take on “Blind Alley” from 1972’s TALES FROM THE CRYPT, in which actors Anson Mount (channeling a li’l bit of “W,” Larry the Cable Guy and many more!) and Brande Roderick star as a couple from Texas who inherit a piece of city real estate currently inhabited by a quartet of black war veterans. Murder is in the cards when these two irritating rednecks devise a scheme to get rid of their tenants. This is the strongest and most wild story of the lot, the comedy and characters painted in the broadest strokes possible. Even Ernie Hudson, who lends a modicum of weight to the piece, succumbs to the wacky and wet antics until the whole thing crescendos in the aforementioned bulimic dwarf making his appearance. And finally, HOOD wraps on a generic note as we find Pooch Hall as an up-and-coming rap star blinded by success. In keeping with the film’s theme of corrupted characters, he’s willing to go to great lengths to effect his rise to the top, which includes bumping off a friend or two.
If this all sounds pretty absurd, that’s because it is. But that’s OK. Eschewing the caustic approach she imbued 1995’s THE LAST SUPPER with, director Stacy Title this time juggles silly guffaws and grotesque, random shock value. When a chihuahua is obliterated in an explosion of fur and guts before our very eyes, you know you’re in the hands of someone a bit unpredictable and with a pitch-black sense of humor. Title’s efforts are hit-or-miss, but the end result is prime midnight-movie material.
And it’s damn fine-looking material at that, thanks to the depth of Claudio Rocha’s sharp photography. His contribution, along with John (MATRIX trilogy) Gaeta’s assistance in HOOD’s manic but overlong animated opening, give this flick that extra boost of steroids it needs to muscle itself away from the direct-to-video pack. If it was shot on the cheap, the audience won’t know it. The production design is full of carny funhouse flavor; Vincent Guastini’s splat FX churn the stomach—especially when BAYWATCH bombshell Roderick gets her comeuppance; and you’ve got Billy Dee Williams, Diamond Dallas Page, Lin Shaye and Jason Alexander springing up in cameos. Jason Alexander…with a British accent—so it’s a win-win situation all around for cult enthusiasts looking for a new kind of kick.
There will be those who jibe with HOOD and those who don’t. Both parties will likely agree on the fact that it’s not scary in the least, but you can’t deny that it puts Snoop to good use, and it would be great to see him in future entries while we wait for someone to come along and put a face on urban horror that we can actually take seriously.
Originally Posted on 4/24/2006
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