Seemingly forgetting the events of the first film, THE HUMAN TORNADO has wealthy pimp Dolemite donating his Alabama mansion to a priest to found a boys' home. The party is crashed when racist Sheriff Beatty (J.B. Baron, PETEY WHEATSTRAW) and Deputy Charlie lead a posse to bust them up; but it's Beatty who is in for a shock when he catches his wife in bed with Dolemite (having paid for his services). Beatty orders his deputy to kill them, but Dolemite manages to escape. With buddies Dough (Ed Montgomery), Bo (Ernie Hudson, GHOSTBUSTERS), and Jimmy (James R. Page), as well as a gay guy who they carjack, Dolemite heads to Los Angeles at the invitation of club owner Queen Bee (Lady Reed, DISCO GODFATHER). Upon arriving, however, Dolemite and his buddies discover Queen Bee's club shut down and learn from his old flame Hurricane Annie (Gloria Delaney, RED HEAT) that Queen Bee and her girls are being forced to work at the club of mob rival Calvaletti (Herb Graham, VIDEO VIXENS!) who is holding girls T.C. (Peaches Jones, COFFY) and Java (female impersonator Lady Java) hostage in a creepy old house to be tortured by an old hag. While Queen Bee and her girls arm themselves to make Calvaletti's lavish birthday party one he'll never forget – with the help of Dolemite's buddies and World Karate Champion (and Chuck Norris choreographer) Howard Jackson – Dolemite attempts to determine the whereabouts of T.C. and Java by seducing Calvaletti's nympho wife (Barbara Gerl). Unbeknownst to Dolemite, police detective Blakely (THE LONG GOODBYE's Jerry Jones, who also scripted) has been put on his tail by Captain Ryan (Jack Kelly, MAVERICK) when Beatty shows up accusing Dolemite of murdering his wife.
Learning from the reception of the highly successful DOLEMITE, Moore, screenwriter/actor Jerry Jones, and director Cliff Roquemore (replacing DOLEMITE director D'Urville Martin whose work left something to be desired on the first film) amped up every element of the film in terms of comedy, violence, language, vulgarity, sex, and nudity. White women lose control for Dolemite's body (despite Hurricane Annie disapproving of his paunch), and Dolemite's seduction of Mrs. Calvaletti is preceded by a fantasy of several black bodybuilders sliding head down a children's slide in between her legs. The subsequent sex scene looks like outtakes from an EXORCIST rip-off with a rocking bed, slamming doors, shaking walls, and a ceiling cave-in. Hurricane Annie seduced Dolemite into a workout that turns into a sex scene intercut with their romping around town (negating the workout with some fast food). There are some brutal bullet hits but the sadism of the torture scenes is softened by the over-the-top acting of the witch and her cohorts. The fight scenes are still staged rather ineptly, with Dolemite taking on several of Calvaletti's men at this house on the hill in an endless sequence of karate posturing and spouted gibberish, undercranked camerawork, and instant replays. This is followed by the climactic battle at Calvaletti's compound in which Jackson contributes some more adept karate before Dolemite arrives to take on a nunchaku champion before giving Calvaletti a taste of his own medicine with the help of some hungry rats. The film is wonderfully irreverent and unpredictable, as Moore fully embraces the comical aspects without actually turning it into a parody of the Blaxploitation genre which was on its last legs.
This article was written by Eric Cotenas for Dvd Drive in.