When her boyfriend is murdered by gangsters, Sugar Hill decides not to get mad, but BAD! She entreats voodoo queen Mama Maitresse to call on Baron Samedi, Lord of the Dead, for help with a ...
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A possession film about a marriage counselor who becomes possessed by the demon of sexuality, when her father in law, an exorcist, freed it while in Africa. He returns home, along with his ... See full summary »
When her boyfriend is murdered by gangsters, Sugar Hill decides not to get mad, but BAD! She entreats voodoo queen Mama Maitresse to call on Baron Samedi, Lord of the Dead, for help with a gruesome revenge. In exchange for Sugar's soul, the Dark Master raises up a zombie army to do her bidding. The bad guys who think they got away clean are about to find out that they're DEAD wrong.Written by
Christopher Chase <firstname.lastname@example.org>
The zombies in this film more closely resemble the creatures of voodoo legend - i.e., the walking dead who do the bidding of a human master - than the flesh-eating "living dead" ghouls popularized by George A. Romero. According to the film, the zombies are the preserved bodies of slaves brought to the United States from Guinea. See more »
When Baron Samedi goes to curse Valentine, he stabs a pin into a voodoo doll's left leg. However, Valentine feels pain in and breaks his right leg. See more »
1974's "Sugar Hill" marked the end of Robert Quarry's brief horror stardom beginning with 1970's "Count Yorga Vampire" (a total of 6 features), although he worked continuously in smaller roles in lower budgeted films. In the early 70's, AIP maintained its policy of old fashioned horror, all PG titles, even after the departure of James H. Nicholson, the ideas man, leaving Samuel Z. Arkoff, the financier and distributor, alone in charge. The 2 Count Yorga films were profitable, as were the Blaculas, and other black-themed takes on familiar subjects arrived, like this one here, plucked from obscurity (like "The House on Skull Mountain") by recent showings on Turner Classic Movies. Zombies and voodoo no longer go together in this age of flesh eating Romero copies, but provide all the intrigue in a script filled with clichéd characters and dialogue. Marki Bey stars in the title role, turning to voodoo to avenge the beating death of her fiancée by the hired goons of crime boss Morgan (Quarry), complete with Southern accent and horny moll (Betty Anne Rees, a prior victim in 1972's "Deathmaster"). Betty and Marki even engage in a catfight, ala Pam Grier, a nice touch considering neither would continue acting much longer. Richard Lawson ("Scream Blacula Scream") pads out the running time in a dead end investigation that fails to stop the bloodless carnage carried out by the walking dead, ancestral slaves still in shackles, lifeless eyes covered in creepy webs. Easily the real standout is Don Pedro Colley, a far cry from his restrained performance in 1970's "Beneath the Planet of the Apes," playing the role of Baron Samedi, leader of the dead, a part essayed one year before by Geoffrey Holder in the James Bond thriller "Live and Let Die." Among the supporting cast, the lone familiar face is top henchman Charles Robinson, who appeared in ROOTS:THE NEXT GENERATIONS, before landing a co-starring role on NIGHT COURT. Director Paul M. Maslansky was no stranger to horror, having first worked with Michael Reeves and Christopher Lee on 1964's "The Castle of the Living Dead," mostly as a producer. AIP continued to have hits for the remainder of the 70's ("The Food of the Gods," "The Amityville Horror"), but never really latched on to the genre's changes escalated by "The Exorcist," and by 1980, Sam Arkoff had sold out, the company renamed Filmways, continuing to churn out hits ("Dressed to Kill"). By that time, the blaxploitation era was already long gone, waiting to be rediscovered.
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