It's 1934, and the evil local land baron forecloses on Angie's place, and she and her two daughters must leave and continue their life of crime. A reporter witnesses their heist of a bank, ... See full summary »
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It's 1934, and the evil local land baron forecloses on Angie's place, and she and her two daughters must leave and continue their life of crime. A reporter witnesses their heist of a bank, and helps them become folk legends by writing a story about them. After a time the evil land baron wants to run for governor, and Angie and her daughters kidnap his son and turn him into a gangster in order to discredit his father and his run for governor. Written by
Ed Sutton <firstname.lastname@example.org>
Any unauthorized exhibition, distribution or copying of this film or any part thereof (including soundtrack) is an infringement of the relevant copyright and will subject the infringer to severe civil and criminal prosecution... not to mention a midnight visit from some of our boys. See more »
You watch this film because of the attractive women, not because you expect The Godfather', 'Bonnie and Clyde', or even 'Scarface.' Angie looks great (although she may be body doubled during her sex scene with Culp), and McCullough and Brisbois are barely clothed throughout, thank you very much. Otherwise, this is a clumsily written, directed and acted pile of junk. The action scenes are some of the worst staged for the screen, with Glover, Culp and others standing around, unconcerned, as explosions go off and bullets fly around them. Cops fire endless rounds at Angie and her girls in their jalopy and neither the car or the girls are ever scratched. Plotwise, we've got Dickinson and her girls shooting up cops and blasting their way out of banks then racing off... but the cops never follow. In fact, nobody seems to be after these brazen criminals except Culp, the reporter. The cops are apparently stumped, but Culp finds them without any effort, time and time again. It's all so obviously stupid, and the leads know it. Culp and Dickinson treat the film like a 'Smokey & The Bandit' lark with barely suppressed laughter in many of their scenes. But, once again, you're here for the feminine pulchritude.
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