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A thousand years ago, somewhere in Haiti,
a black man, Gatanebo (Aldo Sambrell), and a black woman, Kenya, fall in love,
but the former gets into a fight over her with another man (apparently the
woman's husband) and kills his enemy. The members of the local black tribe
(who, somehow, seem to have arrived in the New World five hundred years before
Columbus) then decapitate Kenya and, having encased Gatanebo in an ornate
sarcophagus, bury him alive. In the twentieth century, the sarcophagus, having
been unearthed, is being transported on a cruise ship making its way through
the Caribbean. The mummy of Gatanebo takes this opportunity to come to life and
discovers that Sylvia (Eva León as "Eva Lion"), the secretary of the man
in possession of the sarcophagus, is actually Kenya reincarnated. To regain
former lover, and to get revenge on some of his old enemies (whose
reincarnations he also happens to meet), Gatanebo begins killing a number of
persons aboard the ship.
Manuel Caño's Voodoo Black
Exorcist is an awful movie. Sadly, for the most part, it is just poorly
made and dull rather than being bad in a humorous way.
There really is not much to say about the film. The acting is
wooden. The story is hackneyed, derivative, uninvolving, and often contrived,
and the special effects are atrocious. I will grant that the viewer might enjoy
some of the forced plot developments, a few wacky lines of dialogue, the
hideous costumes, and the film makers' idiotic ideas about history,
anthropology, and African religions, but, more often than not, such elements
are more likely to induce grimaces than chuckles. All of this said, there is
one element of Voodoo Black Exorcist that is consistently entertaining.
Every major black character in the movie is portrayed by a white actor in
blackface. I was genuinely stunned to see so many black characters who were
not, in fact, played by black performers. I would have been chagrined, and even
offended, had the effect not been so laughable.
Voodoo Black Exorcist is mildly amusing and utterly
Review by Keith Allen
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