Dying Voodoo queen Mama Loa chooses adopted apprentice Lisa Fortier as her successor, leaving her arrogant biological son Willis outraged.

Meanwhile, Justin Carter, an ex-police officer with a large collection of acquired African antiquities and an interest in the occult, begins to investigate the murders caused by Mamuwalde and his growing vampire horde.

They discuss the artifacts, unbeknown to anyone else, that were from the region of Africa Mamuwalde hails, including pieces of jewelry once worn by his late wife, Luva.

"[5] Kevin Thomas of the Los Angeles Times agreed that "this sequel is far superior to the original, possessing much-assured style as well as considerable humor.

That's because writers Joan Torres and Raymond Koenig, aided by Maurice Jules, have turned out a more polished script and, above all, because AIP assigned Bob Kelljan, who made 'Count Yorga, Vampire,' such a delight, to direct.

"[6] Roger Greenspun of The New York Times, however, stated that the film was "not, as the title might suggest, too much fun for anybody," writing of the performers that Kelljan "hasn't enough for them to do.

"[7] Geoff Brown of The Monthly Film Bulletin wrote that "deprived of his initial novelty, this African prince with the urbane manner and resonant voice seems indistinguishable from the common Caucasian variety [of vampire], and his adventures will excite only the most undemanding of audiences.

The mixture of blaxploitation and horror does offer intriguing possibilities, but Kelljan and his screenwriters prefer to take the well-trodden path, in which fangs are dug in and screams are dragged out with depressing orthodoxy.