THE DENTIST must’ve done well on video, because they had a sequel ready in two years, with director Brian Yuzna and star Corbin Bernsen both returning. Part 1 screenwriters Stuart Gordon & Dennis Paoli handed the reins to newcomer Richard Dana Smith, who went on to write thrillers (mostly for TV) with the following titles: THE STEPDAUGHTER, THE PERFECT WIFE, ALONE WITH A STRANGER, STRANGER AT THE DOOR, THE PERFECT NEIGHBOR and FRAMED FOR MURDER. THE DENTIST 2 is kind of the weirdo horror movie loving cousin of those types of movies.
The sequel opens with Dr. Feinstone’s dream about practicing dentistry on his ex Brooke (a returning Linda Hoffman, BLACK SCORPION II: AFTERSHOCK) in an all white office. Closeups fetishize her lipstick and nylons – this might be the only movie in cinematic history to cause discomfort by equating dentistry with sexiness. He accidentally makes her bleed, and things get way worse from there.
This is one of the things that haunts him in prison, where he tells his psychiatrist (Rende Rae Norman, TRUE COLORS, The Young & the Restless) that he’s a good person and it was a “stranger” who did all those horrible things in part 1. It’s not like he’s trying to put on a front, though, because he won’t pretend he’s not still violently angry when she asks about his wife cheating on him. (read the rest of this shit…)
VERN has been reviewing movies since 1999 and is the author of the books SEAGALOGY: A STUDY OF THE ASS-KICKING FILMS OF STEVEN SEAGAL, YIPPEE KI-YAY MOVIEGOER!: WRITINGS ON BRUCE WILLIS, BADASS CINEMA AND OTHER IMPORTANT TOPICS and NIKETOWN: A NOVEL. His horror-action novel WORM ON A HOOK will arrive later this year.
“This ain’t a funeral home. It ain’t the Terrordome neither!”
RADIOLAND MURDERS is a retro comedy, a madcap murder mystery taking place in 1939 as a Chicago radio station has a gala live broadcast performed in front of an audience and a room full of big shot affiliates waiting to be impressed. There’s a big band and actors doing adventure shows and commercials while the writers, directors and sound engineers scramble to have something on the air after the boss just tossed out all of their scripts. Meanwhile, writer Roger (Brian Benben, 
