Detective Joe Garvey is called in to a mysterious case: a ballerina has been slayed on stage during a performance, it seems she didn't even fight. At her house Garvey finds her 14 years old... See full summary »
A woman moves from NYC to LA after a murder, in which she is implicated. She is followed by what is apparently her evil alter- ego. She moves into a room for rent by a writer, and he begins... See full summary »
The film opens with 4 tuxedo clad men showing up at a penitentiary to meet a friend who has just been released after three years in prison and is going straight from the jail to marry his ... See full summary »
Casey and Matt are high school kids in love. They run away together after Casey's parents check her into a mental hospital for trying to kill herself. Matt sneaks her out and on the road ... See full summary »
A story told from three angles. Max meets Elizabeth; they live together, but when she talks of marriage, he balks. He becomes extremely jealous, probably without cause, and thinks she's ... See full summary »
Jane is a night club singer, out of work. Robin is a quirky real estate agent looking for a ride-share to accompany her to California. Her advertisement is answered by Jane, who at first ... See full summary »
Emma is an attractive girl in her 20s who has been blind for 20 years. A new type of eye operation partially restores her sight, but she is having problems: sometimes she doesn't "remember"... See full summary »
When saloon prostitute Cody Zamora rescues her friend Anita from an abusive customer by killing him, she is sentenced to hang. However, Anita and their two friends Eileen and Lilly rescue Cody and the four make a run for Texas, pursued by Graves and O'Brady, two Pinkerton detectives hired to track them. When Cody withdraws her savings from a Texas bank, the women believe they can now start a new life in Oregon. But Cody's old partner Kid Jarrett takes Cody's money when his gang robs the bank, and so the four so-called "Honky- Tonk Harlots" set out to recover the money, with the Pinkertons hot on their trail. Written by
Jim Beaver <firstname.lastname@example.org>
Tamra Davis started as director of this film, with a script written by Yolande Turner and Becky Johnston. A few weeks into filming, the production company became unhappy with the direction the film was taking. They shut down production, replaced Davis with Jonathan Kaplan, had the script rewritten and sent the four main actresses off to "cowboy camp" to learn how to shoot, rope and ride. See more »
In the scene where Anita tries to rescue Eileen from prison, the rope can be seen around the bars before the scene, where Anita ties the rope. See more »
Are we going to get Eileen out or what?
I don't know, but we got you out when they were gonna lynch you.
Well now, that was lucky.
Look here, I don't let my friends get hung.
See more »
Jonathan Kaplan's Bad Girls leaves an interesting taste in my mouth. It is an energetic and fun film, offset by its ridiculous characters and plot. The believability factor in this flick is low, which encourages its audience to view it as a swirling maelstrom of metaphor and symbol. Woman, as defined by the early 90's, can overcome any impediment and still be beautiful, no need to become manly (and lose her femininity) to assert herself. The Western genre serves as a perfect tableau for this discourse because it is one traditionally dominated by men. Likewise, the men in Bad Girls each represent an institution of American culture that is dominated by men and their mentality, conveniently dispatched by the bad girls.
Four whores raise hell by killing a Colonel and running out of town, complete with unnecessary slow motion of Drew Barrymore shouting "heeyah!" and the humiliation of every man who crosses their path. The military, traditional justice, and Christianity are trampled upon, left wondering how these motivated and hard working women could escape their clutches. The film from here takes some twists and turns, and several complete circles. In short, the whores chase a dream of establishing a home for themselves around a mill that Mary Stuart Masterson's late husbands owned, countering the murderous advances of men with their own sexual flaunting. Gunfights, smarmy dialogue, pseudo-lesbianic encounters, and female flesh fill the film to to a near bursting capacity, much like Barrymore's bosom.
It is not what I would call a smart film, however it does present itself as an interesting fable about the empowerment of women by women who remain women. I would liken Bad Girls to that of the Freudian dreams of those who struggle against "the man." I feel that it deserves to be seen at least once.
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