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 »
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 »
Emma is a blind cellist who finally gets the opportunity to get to see. Meanwhile, a string of bizarre rapes and murders has taken place. All of the victims have had transplants within the last month. A coincidence, or is Emma next?
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 »
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 »
Father Michael McKinnon goes from the UK to Boston circa 1935. For unknown reasons, he avoids at all costs the most prominent parishioners, Arthur and Eleanor Barret. Meanwhile Eleanor and ... See full summary »
Lesli Linka Glatter
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>
According to producer Lynda Obst, the original production design was essentially monochromatic, and the leading actresses had primary color costumes. During the brief halt in production and cast and crew replacements, a different production designer was hired and the costume and set concepts were retooled. One recurring problem in the original project was that the lead actresses were fighting over a red costume originally intended for Madeleine Stowe. See more »
When the stage coach comes out of the canyon/gorge, the camera crew and modern vehicles are reflected in the window. See more »
Cody! Cody! Help!
Leave her alone, Colonel.
I paid for a goddamned birthday kiss, and I'm gonna get it!
You touch her again and you're a dead man.
[Colonel shoots twice at Cody, she shoots him in the chest]
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.
17 of 24 people found this review helpful.
Was this review helpful to you?