New Orleans, 1942: Vicious, abusive hoodlum J.D. Walker (a sneering, splendidly nasty turn by David McNight) slices a woman's throat with a switchblade, then gets promptly shot dead for committing the brutal, heinous misdeed. Cut to New Orleans in 1976: Sweet, likable, struggling law student Ike (frequent second banana co-star actor Glynn Turman, giving a fine, engaging performance in a rare substantial lead part) is possessed by J.D.'s malevolent, vindictive spirit, which transforms Ike from a harmless, mild-mannered college kid into a vile, lethal, womanizing, straight razor-toting cad who exacts a terrible revenge upon all those individuals responsible for J.D.'s untimely demise.
One of the best, most frightening and effective entries in the short-lived 70's blaxploitation horror craze (prime examples of this nifty sub-genre include both "Blacula" movies, "Abby," and "Sugar Hill"), "J.D.'s Revenge" emphasizes mood over violence, with seasoned B-picture veteran Arthur ("Bonnie's Kids," "Bucktown") Marks' typically sturdy, stylish, self-assured direction and Jaison Starkes' craftily plotted script deftly milking the creepy, mysterious, unsettling Southern Gothic-style ambiance for all its worth. Said scary gloom-doom tone, further reinforced by a vivid evocation of that uniquely lazy, luscious and exotic Big Easy atmosphere and Marks' ever dark sense of humor, insinuates itself upon the viewer in a low-key, yet forceful manner. The always great Louis Gossett, Jr. offers a dazzling, dynamic portrayal of Elijah Bliss, a flashy, grand-standing, two-faced preacherman with something to hide. The lovely Joan Pringle is strong and sympathetic as Ike's concerned girlfriend Christella. Harry May's gorgeous, polished cinematography gives the film a sumptuous professional sheen which totally bellies the low budget. The eerie, groovy, understated score by Robert Prince (who also co-wrote the forgettable ending credits theme song "I'll Never Let You Go") is likewise on the money fine. Reportedly one of Samuel Jackson's longtime favorite movies, this baby rates as a real nice one all around. And Turman does wonders in a touch, demanding part; ironically, Turman was ultimately dissatisfied with how the film turned out.
One of the best, most frightening and effective entries in the short-lived 70's blaxploitation horror craze (prime examples of this nifty sub-genre include both "Blacula" movies, "Abby," and "Sugar Hill"), "J.D.'s Revenge" emphasizes mood over violence, with seasoned B-picture veteran Arthur ("Bonnie's Kids," "Bucktown") Marks' typically sturdy, stylish, self-assured direction and Jaison Starkes' craftily plotted script deftly milking the creepy, mysterious, unsettling Southern Gothic-style ambiance for all its worth. Said scary gloom-doom tone, further reinforced by a vivid evocation of that uniquely lazy, luscious and exotic Big Easy atmosphere and Marks' ever dark sense of humor, insinuates itself upon the viewer in a low-key, yet forceful manner. The always great Louis Gossett, Jr. offers a dazzling, dynamic portrayal of Elijah Bliss, a flashy, grand-standing, two-faced preacherman with something to hide. The lovely Joan Pringle is strong and sympathetic as Ike's concerned girlfriend Christella. Harry May's gorgeous, polished cinematography gives the film a sumptuous professional sheen which totally bellies the low budget. The eerie, groovy, understated score by Robert Prince (who also co-wrote the forgettable ending credits theme song "I'll Never Let You Go") is likewise on the money fine. Reportedly one of Samuel Jackson's longtime favorite movies, this baby rates as a real nice one all around. And Turman does wonders in a touch, demanding part; ironically, Turman was ultimately dissatisfied with how the film turned out.