In what could be the least-anticipated sequel since Mannequin 2: On The Move, writer/producer/star Mario Van Peebles returns as Chance, the moody black cowboy/messiah figure last seen in 1993's Posse. In Los Locos, Van Peebles comes to the aid of a group of colorful mental patients left adrift following the death of the evil nun who runs their makeshift asylum. Joining Van Peebles on the trail are Rene Auberjonois as an idiot-savant gambling prodigy and Melora Walters (Cabin Boy, Boogie Nights) as a mentally ill frontier prostitute with a yen for Van Peebles' manly seed. Like a good number of action stars, Van Peebles possesses a curious mixture of vanity and masochism: The film's script seems solely designed to alternate scenes of Van Peebles in various stages of undress with scenes of Van Peebles being brutally tortured. Like most direct-to-video sequels, Los Locos is a minimalist affair, a crude, violent film that trades the original's flashy, MTV-style editing and camerawork for a style that can generously be described as unremarkable. While the original film had an ostensible social and political purpose—to pay homage to the role of blacks and Native Americans in the Old West, and to comment on the racial dynamics of America around the time of the Rodney King riots—Los Locos is relatively apolitical. Van Peebles does, however, do his bit for gender equality by generously including stereotypical gay villains both male (an effete Army officer) and female (a butch, sadistic nun).