"It takes away one of his friends for each assassinated foe ..."

An busy amateur rap group is approached by a local mafia kingpin. Regardless of the godfather’s two accomplice’s rude introduction, the four colleagues do not realize the dangers they would expose themselves to if they were to refuse the proposition that is imposed upon them. They want to be successful and want to exploit their talent in their own way.

Kwane’s grandmother saw her parents put to death by a bride decapitated sixty years ago. The old priestess refuses to pay the ransom so she is kidnapped! However, Kwame, the group’s improvised leader, decides to read up in her library to ensure that nothing happens to his precious tutor and to get rid of his enemies, one by one.

He had been warned of the negative consequences of voodoo incantations but because of his limited resources and time, he exchanges an infinite permission against his grandmother’s safety. The spirit of a rag doll will drive his revenge. For each brute assassinated, one of Kwane’s friends perishes.

Here is your typical Full Moon Pictures flick that is inspired of many genres that is initially successful (curiously). Sadly, its potential is quickly consumed. The excellence of the actors is inconceivable considering the budget associated with such a release. Bill Davis plays the role of an amusing stereotyped character and James Black, an eccentric homosexual.

When a film appears longer than it is, it is usually because it doesn’t manage to keep you riveted to your seat. The film has many surprises but its rhythm is repetitive, knocking you out by moments. Ted Nicolaou has too many instruments and too few virtues.

Puppet Master and its sequels failed in demonstrating improvement and no one at Full Moon seems to learn from their mistakes. Ragdoll is even worse. From its visual effects to its puppetry, the film is a constant deception on each aspect upon which its target audience isn’t lenient.