Bruceploitation veteran Charles Bonet (Fists of Bruce Lee, et al.) graduates to his own vehicle in the modern-day Death Promise as — now here’s a stretch — Charley. The young Puerto Rican is living his best life in the worst of Manhattan when the landlord of his shitbox apartment tries to force out all the tenants; when shutting off the electricity, gas and water doesn’t work, a dusty box of rats let loose in the halls is Plan B.
As Charley’s Pops (Bob O’Connell, The Sting II) learns, the blame is on the “landlord syndicate” dba Iguana Realty. With a multimillion deal at stake, Iguana needs to level the place. Pops pushes back, saying they’ll only be able to demolish “over my dead body” — a proclamation the syndicate takes that as an open invite. After consulting his local dojo master, Ciabatta Shibata (Thompson Kao Kang, The Black Dragon), on next steps, Charley vows to take out all responsible for Pops’ murder.
With the help of his bell-bottom jeans and his best pal, Speedy (Speedy Leacock, he of the monogrammed karate uniform and an Afro somehow parted down the middle), Charley makes a list and checks it twice — five times, actually, as his targets include:
• a Cameron Mitchell-esque, cigar-chomping archery buff (Tony De Caprio, Wanda Whips Wall Street)
• a judge by day and philatelist by night (David Kirk, Putney Swope)
• your garden-variety sleazeball, complete with disgustache (one-and-doner Thom Kendell)
• a smack dealer (one-and-doner Abe Hendy)
• and their Hal Holbrook-ian, cane-wielding figurehead, Alden (Vincent Van Lynn, Fuzz), who, until he’s felled by ninja stars seemingly cut from a cardboard box in the alley, takes orders from a Blofeld-ian mystery man — complete with kitty cat
The only movie directed by one Robert Warmflash, Death Promise is dirtier-than-dirt cheap. From its look, sound and vibe, you might think it were made by Fist of Fear, Touch of Death crew members on a potty break. And yet, the martial arts performed by Bonet, the Latin Panther, are impressive. His inevitable showdown against Bob Long (The Super Weapon) and others is especially satisfying because of the feral, crazed noises his foes emit, and because Warmflash isn’t one to move the camera much, that inexperience actually plays as a strength since we can clearly see each fighter’s moves.
In other physical news, many scenes include two- and even three-man walking hugs. Take it as the urban trash classic’s harbinger of charm. As the catchy, soul-infused theme song bellows, it’s gonna blow your mind — that’s a promise! —Rod Lott