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This was clearly one of those films some idiot thought would be a good idea. Sure, the concept sounded intriguing, but it just didn't work. Fortunately, for the sake of Richard Roundtree's career, they stopped making Shaft movies after this, but the character's stake in Hollywood was just as great as Indiana Jones or Freddy Krueger. There were some great lines and the story presented a modern edge to a very dark time in history, but it just seemed like it was lacking in some elements. The original Shaft will always be the better one when compared to the modern day version.

Shaft is hired to go into Africa undercover and be taken in as an African slave by the Europeans. Once he is a slave he can find the man behind the slavery ring and shut the ring down. Far more interesting story than the last two, takes Shaft out of his element and puts him in a few new countries. More action packed and with a better director makes this the best Shaft flick of the original three. ** out of ****

Second and last Shaft sequel has Shaft (Richard Roundtree) going to Africa to break up a slave ring. Flimsiest of all three Shaft films is still enjoyable thanks to Richard Roundtree's charisma. The plot is pretty contrived. Seemed kind of silly that they didn't just ask Shaft for help upfront. Instead, they fight him, kidnap him, and test him before asking. I guess it's kind of silly they would need his help in the first place. Who hires a New York private detective for this sort of thing? Anyway, it's still fun. Shaft has his way with Vonetta McGee and a hot European nymphomaniac. Not bad. This is also the only movie I've ever seen where the subject of clitoridectomy is discussed so much. Highly educational film.

After the abysmal Shaft's Big Score, this second follow-up to the original 1971 legend is much finer stuff. John Guillermen takes over from blaxplotation maestro Gordon Parks as director and excellently brings freshness to the whole thing, with Richard Roundtree's supercool private eye being sent to Ethopia in order to infiltrate and bring down a ruthless slave-trading scam. This entry is wonderfully self-concious in the fact that it all smacks of the Bond saga - even Shaft says it when he finds himself handed a couple of gadgets for his mission. Therefore, there's a strong and largely satisfying formula behind the whole affair. The action is still a little clumsy and quite excessively violent, but in general this is bigger, brighter and funner than what came before it.

Shaft assumes more of the Bond mantle in this film by going undercover to find out who is running the slave trade out of Africa into Europe. However, it really is too much of a stereotype to Shaft and takes away some of what makes him special. Shaft, Richard Roundtree again, of course, belongs uptown across 110th street. That's his turf, and putting him in a robe with a stick is just too much. This film just went too far, past where the imagination can stretch, in letting Shaft win. Yes, it was letting Shaft win, as he couldn't possibly have dodged all the attempts made on his life and still have energy to magically bed Vonetta McGee, and Yugoslavian Neda Arneric. Having said that, there were some very good moments in the film, and it is still worth the time to see Roundtree in action.

Why do you ask? Its got more one-liners, better (as in more amusing) dialogue, better action. Shaft becomes the poor man's James Bond in this one, doing what amounts to international spying but without the hi-tech tricks of Bond. Great final "Shaft enraged by the slow working justice system" ending. Great title song by the 4 Tops ("Are You Bad Enough") doesn't measure up to the classic "Shaft" but still delivers.