A Ten Little Indians-style stab-a-thon starring a predominantly African-American cast seems like a refreshing idea, but writer/director/producer H.M. Coakley’s Holla II is for the most part execrable, featuring one-liners like “Assholes come in all colors” and a tendency to abuse extreme close-ups, sometimes while the camera is glaringly out of focus. Wailing amateur actors are thrust into viewers’ face so often that Holla II looks like it was shot in someone’s dirty rear-view mirror. The plot is unintelligible: Six months after Holla‘s events, Monica (Kiely Williams) hosts her wedding party at a historic Southern plantation. Monica sheepishly rationalizes her irrational plan by saying she wants to “[turn] something so ugly into something so beautiful.” Unfortunately for Monica’s guests, the plantation is rumored to be haunted by the ghosts of 13 rebellious slaves. So while horny young things hook up, a giant, knife-wielding golliwog doll goes on a killing spree. This formulaic plot wouldn’t be so bad if Coakley could effectively connect his plot points. Events take a turn for the worse when a couple protagonists stupidly unlock their bedroom doors when the film’s racist ghost comes knocking. Dumb as they’re written, even Holla II‘s characters are smart enough to want to exit this clunker as fast as they can.