This film definitely has an interesting premise, A guy whose Cock can grow at will and hypnotize women... The film itself is cheap, badly made, and the acting is Meh at best. oh and the ending sucks.

It is pretty entertaining however and once he gets his "Super power" the movie becomes hilarious. the middle of the film is fu*king amazing.

I'm not sure If i'd recommend this film, watch it for the Amazing Cock special effect scenes, the other stuff is pretty boring.

What is the weirdest blaxploitation film? Could it be The Thing with Two Heads, with its story about an old racist who has his head transplanted onto a black man from death row? Or could it be Dolemite with its kung-fu pimp, karate kicking prostitutes, sweary nightclub routines and ever-present boom-mic action? Or perhaps its Darktown Strutters with its female motorcycle gang, comedy relief racist cops, colour-co-ordinated KKK biker gang, pig men in capes and minstrel musical section? Well, maybe it is one of those but then again, there's always Welcome Home Brother Charles!

This film's hero is a drug dealer who returns from doing time in prison after almost being castrated by a racist cop. Naturally he wants payback against his enemies. So, what does he do? Why, he hypnotises women with one look at his dick and then strangles their husbands with his two metre long knob! Its never even really explained WHY he has a python like John Thomas with a life of its own. It was to do with being in prison or something. Anyway, needless to say, this is a thoroughly strange exercise in biscuit-taking cinema and, therefore, comes highly recommended.

It's a damn dirty shame that it's impossible to see the uncut version of Welcome Home, Brother Charles, because what's left of it is tantalizing indeed. Long considered a trash anti-classic, its reputation is well deserved--but there's much more to it than just a giant stunt penis. The first half hour of the film is as good as anything done by Melvin Van Peebles in his overrated Sweet Sweetback's Baadasssss Song, and there are moments that are the equal of Charles Burnett's Killer of Sheep. Really. The tone changes in the second half of the film, but Fanaka's message--that the white man has spent the last few hundred years trying to emasculate the black man--couldn't be clearer. That said, the second half is damaged by what appear to be severe cuts, and Charles becomes a less interesting character when revenge becomes his primary goal. Regardless, this is a film well worth seeing, if only for the amazing score, which blends elements of funk, blues, jazz, and avant garde music to sometimes brilliant effect. Let's hope that Jamaa Fanaka has a complete print safely stashed away in his basement.