Charlie “Charlie Mac” McIntyre (Terrence “Terrence J” Jenkins) is a modern lothario (not much call for that world nowadays) with a seamless ability to remain romantically unattached to the many women that he meets and sleeps with. Now before you begin to hate him, let me clarify that he is not callous, and he does have scruples. He does not date anyone that shares a connection to any of his circle of friends in order to preserve their friendship. Despite him respecting that relationship, his friends wish for him to reform his ways and settle down, something he has no intention of ever doing. Believing his actions are emotionally unhealthy, his two best friends Rick and Victor (Donald Faison and Robert Christopher) take it upon themselves to propose a bet: he must commit to one person until Victor‘s wedding, in order to prove that a prolonged period of time with one woman will not fundamentally change his perspective on relationships.  Charlie accepts.

The Boy Who Cried Werewolf (1973) is an interesting collection piece for fans of horror film. It marks the end of Universal’s long-standing tradition of double-billing B-horror films from the 1930’s onward. That being said, The Boy Who Cried Werewolf and its companion film Sssssss (1973) are the physical evidence of the end of an era. This particular release drops the double- billing tradition, which is rather confusing to me, simply because the Universal Studios distributing system’s historical relevance is worth more to me than the actual film. Outside of the context that I have provided, this film doesn’t have many interesting qualities.

When I think of the Bible, I don’t think of northern Ontario. But there is an appetite for Christian-themed movies, and Canada is one of the most cost-effective places to produce movies. They have studios and sets up there, so it isn’t the worst idea in the world to go there to make any movie, even movies that take place in a very arid, hot, and dusty place. I have reviewed a group of Biblical films that Ted Turner produced for the TNT Network in the 1990’s. They were fairly well made, and, yes, they were made pretty close to the original locations. This new group of Biblical films is not quite up to those standards. I am reviewing The Apostle Peter: Redemption, but the same company has also produced Joseph and Mary, so we can probably expect more.

I fear our acceptance of A Haunted House has opened a door that we may never be able to close, as it would cause the disaster that is Meet the Blacks to be born. Parody films have the potential to be extraordinarily funny or incredibly bad. Can you guess what side of the scale this film falls on? Whether it be through overacting or jokes that attempted to play on every stereotype known to man, Meet the Blacks never really manages to get off the ground and make me laugh, which is equally disappointing given the sheer talent pool of comedians in the film: Mike Epps, Charlie Murphy, DeRay Davis, Lavell Crawford, Michael Blackson, Lil Duval, Paul Mooney, and the list goes on. As I said, this was a clear waste of talent.