J.D.'s Revenge (1976) User Reviews

Dig its razor-blade style?

[lost-in-limbo · 5/10 · 15 June 2009]

Accomplished, but unspectacular blaxploitation horror with a tremendously ripe lead performance by Glynn Turman in presenting two very different (from placid to extreme) personalities. He plays a genuinely high flying and collected law student Isaac that during a hypnosis session experiences shocking visions and begins to undergo a personality change of a brutally hot-headed and jive-talking 1940's street hustler J.D. Walker. Through flashbacks that erupted in Isacc's mind we learn that J.D was wrongly accused of murder and then killed. Now he's seeking revenge beyond the grave and he's using Isaac to do so.

Director Arthur Macks doesn't generate anything particularly frightening with the flipped-out supernatural current, but works well with the gritty and murky air to cement tough groundwork. There is a ruthlessly razor-sharp vibe throughout, even though the make-up is cheaply done, it's Turman's tour-de-force performance that sells it. Despite a well-rounded story, there are moments in the script that seem to linger and succumb to repetitiveness with a conclusion that feels all too convenient. Robert Prince's unhinged music amusingly experiments with psychedelic sounds from foreboding electronic stings to funky cues. The rest of the performances are efficiently fair with Louis Gossett Jr. and Joan Pringle.

Somewhat interesting but also pretty sick

[preppy-3 · 7/10 · 30 January 2008]

In 1942 New Orleans gangster J.D. Walker (David McKnight) is shot to death by Elija Bliss (Lou Gossett). It is believed that he killed his wife (he didn't). Cut to 1976. Mild mannered young law student Ike (Glynn Turman) is possessed by the spirit of J.D. He immediately becomes cruel and vicious and treating his beautiful girl friend Christella (Joan Pringle) like dirt. Then he realizes his ex rival Elija is still alive as a preacher and J.D. sets out to get his revenge.

I've wanted to see this since it came out in 1976. I was 14 then and a newspaper ad showed a drawing of a gravestone and a pretty young woman lying dead in front of it with a look of horror on her face (needless to say nothing like that appears in the film). But the film only played one week and quickly disappeared--but I've never forgotten that drawing. I'm glad I finally got the chance to see it. It's not a great film but it's an interesting psychological horror film more than a blood and guts one. There's only one bloody attack scene and a shot of a dead animal being cut open (which was repeated at least 8 times).

This concentrates more on Ike being possessed and trying to fight back. It's a hard role but Turman pulls it off. The only part where he goes too far is at the end when J.D. takes complete control and Turman REALLY overdoes it. It's also kind of fun seeing Gossett (REALLY chewing the scenery) as a preacher. His speeches at church are energetic (to say the least) and a highlight. The only thing that bothers me here is the disgusting misogynistic attitude. There's a truly sick scene where Turman viciously tries to rape Pringle. The only other female roles are TWO cheating wives who eagerly jump into bed with other men and Bliss's daughter who seduces Ike (J.D.) almost immediately. Also Ike has a friend who talks about women like they should be beaten up and controlled. This attitude permeates the film and makes it a chore sometimes to watch. Still this is a somewhat interesting reincarnation movie. I give it a 7.

Not bad horror / blaxploitation combo.

[Hey_Sweden · 7/10 · 24 January 2015]

Glynn Turman plays Isaac "Ike" Hendricks, an amiable law student in New Orleans. One night, in the company of his girl and his friends, he decides to undergo hypnosis, just for the hell of it. However, this enables a restless spirit named J.D. Walker (David McKnight) to possess Ikes' body, all in the name of revenge. J.D. was a lowlife criminal who'd been made to look guilty for a womans' murder back during the WWII era. Now the possessed Ike starts to sound and act like J.D., and indulge in various unsavoury pursuits while going about this mission of vengeance.

A very engaging cast helps to make this watchable. It's never a great film but it is a decent and enjoyable one. Producer / director Arthur Marks injects lots of grisly slaughterhouse imagery into the proceedings, which get fairly bloody and intriguing if never exactly scary. The movie goes a fair distance on the performances by young Turman ("Cooley High", "Gremlins", "John Dies at the End"). Naturally, he does look to be having a fine time when called upon to imitate McKnight in his portrayal of the slick and creepy J.D.

Louis Gossett Jr. is very lively as the reformed criminal turned flamboyant preacher who also figures into the plot. The cute Joan Pringle is a likable leading lady as she plays Ikes' girl Christella. Also fine in support are Carl W. Crudup, Julian Christopher, Fred Pinkard, the stunningly beautiful Alice Jubert, and Earl Billings. McKnight conveys plenty of oily menace as the revenge-crazed spirit. Rhonda Shear and Bob Minor have bit parts.

Worth a look alongside other genre crossovers such as "Abby" and "Dr. Black, Mr. Hyde".

Seven out of 10.

Underrated thriller!

[Infofreak · 14 April 2002]

Found half-hidden in the back of my local video store, the cheesy packaging made it look like a tongue in cheek blaxploitation horror movie good for a few laughs. But the packaging misled, this is a surprisingly serious and effective supernatural revenge thriller. Nice guy cabbie/law student Ike (Glynn Turman - 'Cooley High') becomes possessed by nasty Forties pimp J.D. Walker (David McKnight). Ike/J.D. is intent on avenging the murder of his sister. Local Preacher Reverend Bliss (b-grade favourite Lou Gossett Jr.) is somehow involved.

Not a great movie, but a good one, and worth watching for Turman's excellent double turn if nothing else. This movie deserves to be better known.

Fun But Not Great

[gavin6942 · 6/10 · 13 March 2015]

A docile law student (Glynn Turman) is possessed by a 1940s mobster (David McKnight) in mid-1970s New Orleans. The mobster seeks revenge upon the people who killed him and his sister.

There probably are not a lot of blaxploitation-horror-crime films out there. You might get horror-blaxploitation ("Blacula" and "Blackenstein") and you get a lot of blaxploitation-crime, but this is just about the only film that comes to mind mixing all three. So, well done, Arthur Marks.

Marks, for those who do not know, grew up in the world of film. His father worked in Hollywood, and as such, Arthur did the same from the time he could walk. Among many other things, he can be credited with bringing "Perry Mason" to television. For our purposes, though, he must also be credited as a pioneer of blaxploitation. His "Detroit 9000" (1973) was a hit and has been championed by Tarantino, and of course there is "Friday Foster" (1975) starring Pam Grier.

The genre path was continued with this film, and not long after with "Monkey Hustle". First-time writer Jaison Starkes started at a second-rate film school and became friends with George Folsey, who sort of operated a mini-school out of his house. Along with Starkes, Eric Roth was a member of Folsey's circle, and after writing B-movie scripts for twenty years, finally broke into the big time with "Forrest Gump" (1994).

Starkes connected with AIP through Sidney Poitier of all people, and pitched them "Revenge", originally called "The Killing Floor" (a better title). Glynn Turman had just done "Cooley High" for AIP, and Sam Arkoff was impressed enough to hand him another starring role. Arthur Marks was in the middle of a three-picture contract with Arkoff, so it was only natural he would be offered the director's chair.

How George Folsey comes in is sort of a surprise. He already knew Starkes, but actually came in through Marks. Folsey started his editing career with Bernard Schwartz's "Hammer" (1972) and John Landis' "Shlock" (1973). In fact, today he is most associated with Landis, having produced no fewer than 11 films with him. But Folsey also did "Bucktown" (1975), which was produced by Schwartz and directed by Marks, so the transition can clearly be seen there. Folsey did not know his friend Starkes wrote "Revenge" until he received the script while cutting.

AIP had disagreements with both Marks and Folsey; Arkoff wanted exploitation while Marks wanted something more sophisticated. Folsey cut the picture and then AIP made adjustments to eliminate nuance. Ultimately, Starkes believes that 85% of his initial vision is in the final product which is actually uncommonly good.

The Arrow Video release has an incredible, in-depth 45-minute documentary. Whether you like the film or not, it covers the careers and stories of the names attached. There is also an 18-minute standalone audio interview with David McKnight. Trailers for other Arthur Marks films are included, as well as radio spots. Typically an audio commentary would be nice, but the documentary more than covers anything you might want to know.

Not bad, but nothing special

[slayrrr666 · 7/10 · 13 June 2008]

"J.D.'s Revenge" is a simply there possession film without a whole lot going for it either way.

**SPOILERS**

In the middle of New Orleans, Ike, (Glynn Turman) and his girlfriend Christella, (Joan Pringle) try not to let his celebrity status affect their fun. Hitting a popular nightclub, he goes on stage for a hypnotism act and falls under, emerging from the experience seeing strange visions of the murder of an unknown woman in an animal slaughterhouse. Concerned nothing is wrong, he continues on with his life until he runs into Reverend Elija Bliss, (Lou Gossett) and he learns that the trouble has been caused by being possessed by a gangster who had a run-in with him years ago, and is now seeking revenge for being wrongly executed back then. Switching between personalities as he carries on his mission, they try to stop him before he is able to complete his blood-lust through the possession.

The Good News: There wasn't a whole lot to this one that really worked. One of the best ones is that it changes the rules around the whole possession angle. That this one has the male get possessed leads to some really nice moments, as the changes are going to stick out much easier compared to others, which is what is needed to sell the change. That also gives the later half of the film, with the real revenge getting carried through in real gang-land traditions is a lot of fun. From the confrontation in the Church to the fight in the meat factory, it has some really good stuff to it, action-packed while leaving closely enough to the horror elements through the changes which give it some extra pull. The different ways that the film presents the change, from outright changes to the flashing between the two with the same characteristics is rather nice and give the film a little more to it. The last big plus is the really inventive manner of the possession, here done through the rather harmless hypnotism scene. It comes with a great way of doing so that is completely innocent and really rather new. These here are the film's good points.

The Bad News: There wasn't a whole lot to this one at all. The fact that the film doesn't have much action at all, either normal action or horror action, is a pretty big effect on the film. It makes for some really dull moments as there's nothing much happening during that state. It happens during most of the movie, which is the worst part of all of this. It's really just dull for an incredibly long time of the film, and that's something which can really hurt the film. What also ruins this is that the tactics used to indicate that the possession has occurred don't have all that horrific a tag attached to them. Merely wearing a different style of clothes or hanging out with different sets of people are warning signs something's wrong, not something that is used to generate scares from. It's fine to have them as supplanted tools for the actual possession, otherwise this one shouldn't be based solely on such non-frightening motives for such a scary motive. The last flaw is that there's way too many scenes in the animal slaughterhouse. It's unnecessary, is morally disturbing to keep showing that scene over and over again, and does nothing for the film. That alone is one of the major things holding the film down, and all with the other areas are the film's flaws.

The Final Verdict: While not entirely without flaws, the good parts to this one are really just kinda there anyway and overall it's just mediocre. If there's something appealing about the genre or the film or just plain curious, then give this one a shot, otherwise it's best to proceed with caution.

Rated R: Graphic Violence, Graphic Language, Nudity, several sex scenes, a rape scene and animal slaughter

I will have my revenge... in thirty years or so.

[BA_Harrison · 7/10 · 7 January 2020]

Young couple Isaac and Christella (Glynn Turman and Joan Pringle) celebrate their friends' first anniversary together by accompanying them to a New Orleans titty bar (who said romance is dead?), followed by a hypnotist show in which Isaac participates; during the show, the amiable young man becomes host to the spirit of 1940s hustler J.D. Walker (David McKnight) who was shot dead after wrongfully being accused of murdering of his sister. Periodically taking over Isaac's body, J.D sets about getting revenge...

Why do vengeful spirits wait so long before taking action? It's over thirty years before J.D. decides to get even - what has he been doing in the meantime? Still, without this delay, we wouldn't have been able to witness Isaac's hilarious transformation from 70s disco-dancing taxi-driver/aspiring lawyer into conk-haired, besuited, fedora-wearing, razor-slashing J.D. Walker. Turman is an absolute blast as the sneering hoodlum, strutting his stuff, talking jive slang, picking up floozies, and being a real jerk to Christella. It's not exactly an Oscar worthy performance, but it sure is unforgettable.

Also acting his little socks off is Lou Gossett Jr. as evangelical preacher Rev. Elija Bliss, whose sermons are energetic to say the least. Director Arthur Marks' handling of proceedings is fairly unremarkable -- there's not a lot in the way of real scares or atmosphere -- but with such lively central characters, a smattering of nudity, and lots of bright red blood (J.D. gets busy with his razor on several occasions), this Blaxploitation/horror hybrid is too much fun to ignore.

6.5/10, rounded up to 7 for the laughs!

I pity the fool who doesn't bow to J.D!

[Coventry · 4/10 · 22 February 2010]

According to the people who made that documentary entitled "The 50 Worst Films Ever Made", this mixture between horror and blaxploitation is irredeemably awful and hopeless. Luckily their opinions don't mean a damn thing to me and decided to watch it anyway. What I saw was a reasonably cool blaxploitation variant on "The Exorcist" with a strong first half and a sadly disappointing climax. The opening sequences are terrific and take place in the New Orleans of 1942. Loud-mouthed thug JD Walker is wrongfully accused of murdering his pregnant sister and executed on the spot by the real culprit; a jealous local big shot. Thirty years later in present New Orleans, the young law student and part-time taxi driver Ike volunteers to be hypnotized in a sleazy nightclub and becomes possessed with the vengeful spirit of J.D. Ike first suffers from a series of visions, showing in episodes what overcome to the real J.D, and from there onwards he becomes an instrument for extracting vengeance. With a sharp razor ready to cut anyone who crosses his path, Ike goes after Elijah Bliss – the brother who knocked up J.D's sister but nowadays pretends to be a devoted preacher. Okay, so here we have an obscure blaxploitation outsider with a relatively original premise, nifty set-up and a couple of really strong sequences during the first half hour. So this is great stuff, right? Not exactly, no… In spite of a satisfying first half and overall very enthusiast acting performances from the ensemble cast, "J.D.'s Revenge" inexplicably turns into a boring and cowardly lame film. Cowardly, because it never fully dares to develop into a horror flick and merely remains a prototypic blaxploitation effort with magnified clichés, like overlong preaches and exaggerated gangster stereotypes. One too many scenes of misogynist violence, too.

This movie is a collector's item in my opinion.

[donniearps · 10/10 · 23 February 2008]

I saw this movie when it first hit the big screen in the mid 70's. I enjoyed it so much that Glenn Turman was the first actor I was inspired to do research on. When I found out he was married to Aretha Franklin, I really kept up with him. This is one of those flicks I can enjoy with company even if they've seen it before. One of those movies you can enjoy two or three times a year , like "The Five Heartbeats". I'm talking classic. It must have had some strong financial backing because the production quality was beautiful also. I don't have it in my sparse collection yet, but I'm going to get it. I don't know what it'll cost but if I have to, I'll pay as much as $20.00 for it. I know a few people I'd like to treat to a viewing of JD's Revenge.

'I Will Have My Revenge'

[daniel-mannouch · 7/10 · 3 December 2017]

I first heard about JD's Revenge on a TV special called 50 Worst Movies Ever Made (2004) and it made #8. Whatever Ebert camper wrote in to have this quite unique experience 28 places down the pecking order from Ishtar!, hoped that by just showing the trailer and having the obnoxious narrator do a a oh so no care at all description of the plot would be enough to convince people of it's apparent 'awfulness'. The possible hope that viewers would clutch their pearls at the sounds of a black man saying the n word aggressively and mistake an authentic representation of a 40's zoot suit clad black gangster as a then contemporary racial stereotype.

Either the makers of that actually quite high quality list compared to today's IMDb bottom 150 fare failed to recognise the Jekyll and Hyde parallels or got too much caught up in the game and thought being repulsed by intentionally repulsive scenes was a sure sign of bad film making.

Sure it has pacing problems, but what Blaxploitation film doesn't? Apart from Jack Hill's films, but their you go. On the whole though, it was just the style, regardless of the director's colour. From Fanaka to Parks Jr. to Marks here, audience gratification peaked at 40% regarding filmmaking intentions, there were always messages to be had, like the sideshow carnival like exploitation of black church goers for one instance.

J.D's Revenge ain't a popcorn film, but it's sure as hell still a white knuckle ride through sly and subtle racial political commentary and genuine and authentic feeling characters. On top of this, it is also one of the most vividly imaginative screen adaptions of Robert Louis Stevenson's Victorian novella that i can recall seeing since Borowczyk's Dr Jekyll and His Women, and that, is, a feat.

Though i haven't seen it, i doubt even Dr Black and Mr Hyde would be a better blaxploitation retelling of the Gothic classic than this truly overlooked gem.

It's a rough one though. Their's some awkward sex scenes to say the least and JD Walker is as a pure and jive incarnation of evil as I've ever remembered seeing on screen. Rape, incest, razors, it's all him and he takes it in his stride. These elements can be attributed to it's under-appreciated status in Blaxploitation cinema as there is little of the expected 'butt dancing' mentality in this one to quote the titular mean mother. Though admittedly, there is also a Ted V. Miekels atmosphere at times, especially with the ending.

The most striking element of this film and why it hooks you in so is the contrast between law student Issac and the fire breathing JD. Glynn Turman (what a voice) gives an astounding performance as two polar opposite walks of the black experience. Intelligent and compassionate one side, darkly charismatic and demonically energetic the other. It's a tour de force, simply put. Everyone else is given a lot of improv leeway and it surely gives the film a distinctive taste, for better and worse, mostly better though as some of the line deliveries of otherwise overblown dialogue feel loose and organic, which is uncommon in Blaxploitation and exploitation cinema in general.

In conclusion, JD's Revenge is defo a case of one of these is not like the others as it's a tough, mean and surprisingly moral affair that has so many striking elements, it's almost as tough as the film itself not to give it at least one watch. Highly recommended.

Pretty dull.

[gridoon · 4/10 · 20 December 2002]

The "possession by a vengeful ghost" storyline had probably gotten to be old and hokey already by 1976, yet a good movie that can make you feel the emotional drive of revenge could still have made such a story seem new and fresh. Here, the possessed hero seems more concerned with raping and insulting his girlfriend than with taking his revenge. This results in a rather plodding pace. I don't even know why I'm bothering to think about this film any longer; it's doubtful whether you should bother watching it. (**)

A fun'n'funky 70's blaxploitation horror flick

[Woodyanders · 8/10 · 30 June 2006]

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.

The Vidiot Reviews....

[capone666 · 6/10 · 16 October 2015]

J.D's Revenge

The best way to tell if you've been possessed by an African American is if the police start arresting you for no reason.

Unfortunately for the victim in this horror movie, he's already black himself.

Sweet-talked into being the dupe for a hypnotist by his wife (Joan Pringle), law student Ike (Glynn Turman) instead becomes the unwitting vessel for the vengeful spirit of J.D. Walker (David McKnight), a New Orleans street hustler murdered in the 1950s.

Adapting J.D's mannerisms and flamboyant attire, Ike unknowingly begins exacting revenge on Theotis Bliss (Fred Pinkard), the man who killed J.D's sister.

The only person standing in Ike/J.D's way is Theotis' brother, Reverend Elijah (Louis Gossett Jr.).

An intriguing fusion of Blaxploitation stereotypes and horror movie sensibilities, this cult classic can be as gruesome and violent as it can be campy and thrilling.

Incidentally, in the 1950s black ghosts weren't allowed to haunt white families.

Yellow Light

vidiotreviews.blogspot.ca

This movie is very bad

[LNaeem · 1/10 · 19 January 2006]

I have seen many movies and played many video games. It is the most bad movie my life has seen. I live in Brasil and we get many bad movies. This is the most bad. I go to the grand theater to pay to see this movie. I stay up into the night to see this movie. The man has a spirit transcend his body and he then is a bad man. He walks around to play murder on women. I prayed. This movie is not a new movie and new movies are not all good. I typed in the words so I could tell everyone they should not see this movie. I have bad feelings about this movie. I have two children now and if they are very bad I will take them to see this movie and stay up into the night and see how bad it can be. If you think this movie is bad like I think you can email me.

Sincerely, Lewis Naeem

Watch Out For The Razor!

[hillari · 25 June 2004]

Some of the best scenes in this movie take place after Ike (Glynn Turman) has been totally taken over by the late hustler, J.D. Walker. The scene when he walks into a New Orleans club dressed in a 1940's hat and suit, spats on his feet, and his conked hair has to be seen to be believed. Turman does a remarkable job switching back and forth between struggling law student Ike, and J.D., the razor-toting dead hustler out to revenge the death of his younger sister. Overall, this is not a bad film, but some aspects of the plot are muddy. A moment when Ike plays the numbers (what we know as the lottery today), suggests that he may have had a criminal past, but it's not explored further. We learn from flashbacks that Elijah Bliss (Lou Gossett, Jr.) was a hustler, and are given hints in the present story that his current job as a preacher may be a scam. Judging from his sermons, Elijah may have been a boxer too, but that is not fleshed out, either. The conclusion of the film leaves some unanswered questions, as well. Despite of some weak plot points, and misogynistic attitudes, this is still an enjoyable movie.

I'll have my Revenge!

[kapelusznik18 · 6/10 · 5 December 2014]

****SPOILERS**** Gunned down at a New Orleans meat market in 1942 by Theotis Bliss, Fred Pinkard, after he had murdered his sister Betty Jo, Alice Jubert, who was carrying his child J.D Walker, David McKnight, waited in the world beyond to come back and get his revenge not just against Theotis but his born again brother Elija, Louis Gossett. Jr, who was married to her. Now some thirty years later J.D got his chance by, through an hypnosis session , occupying the body & soul of collage law student Issas "Ike" Hendrix, Glynn Truman, to avenge his sister's murder that Theotis framed him for.

This turned out to be a life changing event for Isaac who turned from a sweet harmless and kindly collage boy into an cold blooded and unfeeling psychopath when ever J.D took over his body. The first to notice this change in Isaac was his live-in girlfriend Christella, Joan Pringle, whom he unmercifully brutalized, to enforce his macho and lady killer image, to the point that she left him. Tracking down the Bliss brothers J.D plans to do them both in by getting them to go the the scene of the crime, the slaughterhouse, where Betty Jo was murdered by Theotis with the innocent, in Betty Jo's death, Elija now a well respected reverend slated to witness the gory event.

****SPOILERS**** With J.D pulling all the strings he got both Elija and Theotis to duke it out with each other in revealing that it was Theotis who actually knocked up his brother's wife Betty Jo behind his back. Added to the mix is Elija or better yet Theotis' illegitimate daughter Roberta, also played by Alice Jubert, who tried to prevent the two brothers from killing each other only to accidentally shoot and kill,in a struggle for the gun, her dad Theotis in the confusion. While this was happening J.D was whooping it up and doing some kind of crazy war dance in the background keeping himself out of harms way. J.D in the end did get his long sought revenge and as for the man he used to do it Isaac Hendrix he was later exonerated of all of J.D's crimes since it was proved that he wasn't in his right mind when he committed them.

never really seems to be going anywhere particularly interesting.

[christopher-underwood · 7/10 · 2 August 2020]

This opens well with stark and bloody violence, a colourful 70s look and a glimpse of New Orleans. It seems to take a while to get going with repeated flash backs to that early violence as it gradually becomes clear this is not going to burst into life and is far from being your average blaxploitation movie. At once a little more serious but also rather less fun, this has very good performances, particularly from Glynn Turman in the lead, Jekyll and Hyde type role and Louis Gossett as a crazy preacher. The girls also give great support despite suffering fairly explicit sexual violence but overall this never really seems to be going anywhere particularly interesting.

Of (ghost) pimps and men

[Quinoa1984 · 7/10 · 3 February 2021]

This is hard-edged, occasionally hard to watch (that, well, lets call what it is, rape in the guise of a "lovemaking" scene, and a couple other abuse scenes, so CW I guess) and occasionally funny in a very dark sensibility, and brutal in how Marks and co depict some of the imagery, like the montages of sliced cow carcasses, the cackling face of pure evil in the mirror, and at one point a cab ride from hell that almost rivals that one car ride in Point Blank. This is also a movie where Lou Gossett Jr plays an insanely charismatic preacher who Isaaic comes into contact with and knows he has a deep bond with. And ultimately this is Turman's show and he is really getting to play a *Lot* of characters in one, and that deep exagerrated voice, a full spectrum from mild-mannered to the craven and over the top abusive dickwad.

On one hand, this is commentary on the Black experience, or at least the perception of it - that JD is that rough, cold, violent side that, frankly, is what many white people flash to when that uber-masculine "pimp" kind of persona comes up with Black men, or even men in general, and that this extreme can be taken into genre via supernatural turns - though on the other hand it feels like it is (or could be) repetitive in how JD is acting and practically no one sees that he is not Ike (like, how many times can we see what was done with all that meat!)

As the movie rolls into the third act, it not so much goes even crazier than it just goes further into its most horrific sensibilities. I don't think this is even all that much *fun* throughout, and Marks knows that it shouldn't be. JD's Revenge has the genre down pat, and yet it isn't kidding when it comes to the brutality in the swagger. I mention how white people see JD Walker as the Ultimate Kind of Black Man to Watch Out For, but he's very real to so many women out there.... And yes, it doesn't forget some meaty WTF one-liners

An interesting paranormal concept that was totally ruined by idiots

[planktonrules · 3/10 · 20 September 2008]

I recently saw a documentary called "The Fifty Worst Movies" (a title and concept they ripped off from the book by the same title). Since I like to occasionally laugh at a bad film, I decided to get a copy of "J.D.'s Revenge". However, the movie wasn't nearly bad enough to be in the documentary (and this could be said of many of the selected films). Sure, it was bad (far worse than many of the IMDb reviews would indicate) but the basic concept of the film isn't really bad at all--it's just that the horrible acting by Glynn Turman as "J.D." and the writing combined for a very bad paranormal blaxploitation film.

Turman plays a nice guy who is going to law school and driving a cab. His wife manages to convince the overly studious guy to take a night off and go on the town with some friends. While a participant in a stage hypnosis show, the spirit of J.D. somehow creeps into him and slowly begins to reveal itself. This really wasn't explained well and was a bit confusing as to the how and why. Regardless, this isn't a huge problem. The huge problem is that the character of J.D. is almost like a combination of Steppin' Fetchit and Scarface!! The guy that Turman becomes is a giant walking negative stereotype of a 40s Black man and it's not even close to being subtle or clever--just rather silly and often offensive. What's worse is that some of J.D.'s behaviors were just cruel and made the film, at times, tough to watch. All the nudity wasn't the problem (though there was a lot), but when he rapes his wife and treats women like garbage I cringed and felt it was perhaps pandering to some that might actually enjoy seeing this sort of violence. This is certainly NOT a film that would receive the Betty Friedan seal of approval!!

Turman's stupid characterization (which I blame on him and the writers) is a real shame, as there really was a decent story idea underneath all this crap (which included repeated and unnecessary shots of cows being slaughtered among other things). A man wrongly killed who returns from the dead years later to set things right is an exciting idea and how all this was worked out in the end was far more clever than I would have expected given the overall tone of the movie. Lou Gossett's character and his on-screen brother really were interesting and complex--too bad J.D. was just an idiot!

By the way, Turman playing a jive-talking 40s punk reminds me of Robert Townsend's film "Hollywood Shuffle" as the film laments that the only roles for Black men in films are pimps, drug dealers and the like (which was very true until recently).

This is a very smart and well put together picture that is worth your time

[kevin_robbins · 8/10 · 7 June 2022]

J. D.'s Revenge (1976) is a movie I recently watched for the first time in a long time on Prime. The storyline follows a man who decides to go on stage and be hypnotized while on a date with his long time girlfriend. When he awakes he notices something is very wrong with him and he seems to experience blackouts. During his blackouts a deceased pimp who was murdered takes his body over and starts investigating who killed him, why and then takes revenge...

This movie is directed by Arthur Marks (Friday Foster) and stars Glynn Turman (Cooley High), Louis Gossett Jr. (Iron Eagle), Joan Pringle (Original Sin), Earl Billings (American Splendor) and David McKnight (Under Siege).

This is an extremely underrated movie, in a Angel Heart kind of way. This film has everything you want - great flashes to meat hooks and a slaughterhouse for unexpected horror elements, topless sequences, longer than anticipated but well executed rape scenes, mirror transformations and unintended comedy (Daddy's conk reference). The acting is excellent and the attire, look and feel of the movie is well executed. There's some awkward voiceover scenes, but the end contains some worthwhile twists and turns that make up for it.

Overall this is a very smart and well put together picture that is worth your time. I would score this an 8/10 and strongly recommend it.

Strange Happenings

[Ms_Carter · 7/10 · 31 January 2024]

I feel like this movie takes advantage of the fact that Louis Gossett Jr. Is in it Yes he's in the movie but in a smaller role and not the star Anyway this old 1940's gangster manages to somehow possess the sole of a 1970's young man and seeks revenge on everyone he feel has wronged him (I guess) Not a horrible movie But the plot is somewhat lost on me Interesting sex / rape scene nothing too graphic pretty PG13 actually It's just the way it's played out the expressions on the woman's face I could never decide if she was in pleasure or pain or a bit of both Not a bad movie But it's nothing overly spectacular It kills some time.

Lacking in soul

[Prismark10 · 5/10 · 10 March 2018]

J.D.'s Revenge is a supernatural blaxploitation revenge thriller set in 1970s New Orleans. In 1942 young hoodlum J D Walker is shot by Elija Bliss (Lou Gossett) who thinks Walker killed his woman, Betty Joe who is also JD's sister. We earlier see another person slashing Betty Joe.

In the present day, 1976. Ike (Glynn Turman) is a taxi driver and law student who during an hypnotism act gets possessed by the spirit of J.D. When he gets taken over he gets cruel and violent towards his girlfriend. He injures a passenger in his cab.

Ike starts to stalk Elija Bliss who is now a preacher and comes close to exposing the truth as he uncovers the person who really did kill his sister.

It is nicely acted by Turman who gets to play a Jekyll and Hyde type character. Gossett has a scene stealing turn as a preacher who is rather modelled on Muhammad Ali as he shadow boxes during his sermons.

The film treads the path of other blaxploitation films of that era with violence. blood and nudity. It is though less cheesy though but it is also rather uneven, with a slow pace and an undeveloped plot.

Very Good 1970's Urban Thriller

[hypestyle · 8/10 · 29 March 2010]

Warning- Extensive spoilers--

JD's Revenge was a horror thriller released in 1976. Hitting theaters near the wane of African-American themed genre films, it was released by American International Pictures, which had become perhaps the most prolific American studio to produce 'blaxploitation' movies.

Glynn Turman stars as Ike Hendrix, taxi driver and law student in New Orleans, who has a live-in girlfriend, Chrisette (Joan Pringle). A night on the town with another couple brings the group to a stage hypnotism show. During the show, Ike somehow is possessed by the spirit of J.D. Walker (john smith), a local hoodlum active during the 1940s who met a violent end at a meatpacking plant. Shortly, Ike begins to exhibit odd behavior—he buys a vintage used hat, has frequent headaches, but soon his behavior becomes sinister as J.D.'s influence comes to the fore.

Terrorizing cab riders and womanizing are among the sins J.D. commits with Ike's face. Of particular interest to J.D. is the reverend Elija Bliss, who pastors a popular church in town. As played by Gossett, Reverend Bliss likes to use boxing metaphors in his sermons; his brother Cleotis apparently handles the business affairs for the church, but based on his dialogue he is not remotely the believer that Elija seemingly is. Indeed, Cleotis 'reminds' Elija that the church is just a barely-veiled hustle, and sends some ushers to rough up Ike when he takes Elija's lustful daughter home.

Pros New Orleans is an interesting change of pace from the most frequent genre settings of New York (Harlem) or Los Angeles. Bourbon Street and other locales are showcased. The film handles Ike's internal struggle fairly well—mild mannered and genial normally, smug and swaggering as J.D. By the film's climax the possessed Ike has permed his hair and bought a garish suit to complete his 'old-school' look. The principal and supporting actors all play it straight, which helps avoid a campy feel to what is already a high-concept story. Some unintentional humor is wrought from a doctor who suggests to stressed-out Ike that he smoke some marijuana to calm down. The same can be said for when the movie's main couples celebrate an anniversary at a topless nightclub. Slightly less humorous is Ike's pal coming up with a rather reaching justification for Ike's slapping around Chrisette while possessed.

Cons The climax of the film sets up a revelation that clever viewers may likely have figured out beforehand. The epilogue is fairly cut and dry despite the fantastic series of events that just took place. Despite some mirror-image appearances, there is no verbal confrontation between Ike and J.D., which could have been interesting—instead, Ike just totally blacks out whenever J.D. takes over. There are also several subplots that the movie seems to ignore: Shortly after the possession takes place, Ike visits a pimp to place a numbers bet (hinting at a possible criminal past for Ike) but this is soon forgotten; Reverend Bliss' past suggests that he was not only a former boxer but that he was involved in some sort of racketeerism, and his current career as a pastor may not be completely on the up-and-up. Ike assaults a man after sleeping with his wife; despite Ike being identified as a suspect, this is forgotten by film's end. A possessed Ike sexually assaults Chrisette in an overlong sequence; juxtaposed with the rather pat resolution at the end, it makes her look gleefully forgiving when she should not be—on that note, most of the women in the film are murder victims, harshly abused or sexually loose.

Possessed Blaxploitation

[kirbylee70-599-526179 · 7/10 · 22 November 2017]

I've been a fan of Blaxploitation films for some time now. Those films made mostly in the 70s that featured an urban setting, starred black actors in lead roles and usually ran to either heavy duty action flicks or twists on horror films. They were pure entertainment made for theaters that catered to black audiences but that found fans among all races. Titles like Friday FOSTER, SLAUGHTER, BLACULA and DR. BLACK AND MR. HYDE were regular features shown in theaters that catered to fans.

J.D.'S REVENGE is one among the many films of this genre that was much better than one would expect. It opens in 1942 with a black gangster arguing with a woman who then slashes her throat killing her. J.D. Walker runs in to find her dead, blood on his hands when he picks her up and then discovered by her lover who kills him on the spot.

Fast forward to present day (in this case 1976). Isaac (Glynn Turman) is a law student who drives a cab part time. Live in girlfriend Christella (Joan Pringle) encourages him to get ahead. They head out for a night on the town with two friends and end up at a club where Isaac is hypnotized. Unfortunately that provides a gateway for J.D. to reenter the world and possess Isaac off and on.

Christella and his friends know something is wrong but they can't quite figure out what it is. One moment Isaac is fine and the next he seems like someone else altogether, which of course he is. And when he is he is prone to violent acts of rage.

The story begins to flesh out when Isaac ends up in a church where ex-boxer turned preacher Rev. Elija Bliss (Louis Gossett Jr.) is preaching. It was Bliss who killed J.D. all those years ago. The woman murdered was J.D.'s sister and Bliss was her lover. As the possessed Isaac watches he begins to plan his revenge. Just who really killed his sister is yet unknown but will be revealed by the last portion of the film.

There is plenty of story involved in this movie, enough that it needn't have been a Blaxploitation film at all. It stands on its own as a tale of possession, revenge, love, hate and the supernatural. The acting is well done by all involved and shows Turman at the top of his game. For some reason he seemed to find more work on TV than in films and that's sad. He deserved better.

The film doesn't rely on gore to tell the story and uses the abilities of Turman in the shifting role of Isaac/J.D. instead. Some special effects are on hand but they are not used in such a way as to become the centerpiece. It is Turman's performance that makes the film work. The end result is a movie that while part of the whole Blaxploitation genre is among the best that was offered.

Arrow Video is releasing this in their usual manner, which means the best edition you will find. The movie itself is a 2k restoration from original film elements produced exclusively for this Arrow release. There are numerous interviews on hand here, the original theatrical trailer, reversible sleeve artwork, a collection of trailers for the films of director Arthur Marks and for the first pressing of the title a booklet written by author Kim Fields. If you bought this long ago on video or one of the numerous bootleg copies that have existed for some time, now is the time to step up to this edition. It also surpasses the Soul Cinema collection edition released before.

A good idea with several very flawed details.

[mark.waltz · 5/10 · 25 March 2024]

The flashback to 1942 shows a very brutal murder and the horrific execution of the victim's brother, wrongfully accused of the crime. J. D. Walker returns 34 years later when he takes over the soul of a rather unassuming sweet man, Glynn Turman, a college student who works as a taxi driver, and married to the beautiful Joan Pringle. A hypnosis presentation makes Turman the vessel of evil as Walker takes over, turns the calm Turman into a monster out for revenge on the real killer, and Walker's torturer, an organized crime figure played by Fred Pinkard, an old man in the present day, now a preacher at a mega church along with his much younger brother (Louis Gossett Jr.).

This has some very scary moments, but I couldn't get past the fact that Gossett was supposed to be Pinkard's brother. So there are three villains, as well as Pringle's ex-husband (James Watkins) who is concerned for her safety. Turman gives a very good, intense performance, and Pringle is absolutely lovely, a true lady who has to endure both a violent sex scene and several brutal beatings.

The sex scene is uncomfortable to watch because it goes from painful looking to sensual, and Pringle expresses fear as her character can sense that this isn't how her sweet husband would make love to her. Another scary scene involves an old lady in the back of Turman's cab, petrified over his violent driving. David McKnight plays the ghostly J. D. quite maniacally, and Gossett is convincing as a bamboozling preacher, although the real villain is someone else. If only they had thought about the weird age discrepancy as Gossett isn't old enough for where his story leads.