An opening sequence, shot in sepia-toned black and white, dramatizes Johnson's own supernatural encounter, as well as one of the bluesman's historic Texas recording sessions, and Hill's visuals combine with frequent collaborator Ry Cooder's reliably authentic slide guitar to offer a promising glimpse of cinematic conjury. Even the satanic villain--a grinning huckster named Scratch--honors the trickster figure familiar to African American superstitions, rather than a generic devil. Willie Brown Joe Seneca is likewise a convincing link to the blues past, but Hill's central casting choice--Ralph The Karate Kid Macchio--sacrifices all for marquee value, a Hobson's choice that casts a shadow of unintended parody across the film. Macchio's earlier character, not Scratch, haunts this film, and even a nifty duel between Eugene, his slashing fretwork supplied off-camera by Cooder, and Scratch's ax-wielding henchman, heavy metal virtuoso, and one-time Frank Zappa protégé Steve Vai, can't safely rescue the film. --Sam Sutherland