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Upon taking her vows to become a nun, Sister Sarah is abused, brainwashed and drugged into submission by the corrupt clergy. On the verge of death from a lethal dose of drugs, Sister Sarah receives a message from GOD telling her to take vengeance on all those who did her wrong. Armed with God's will and an arsenal of big guns, she dispenses Judgment Day on her former tormentors. When the church hires the merciless motorcycle gang the "Los Muertos" to track down and kill her they soon realize that this SISTER IS ONE BAD MOTHER. Written by
Robert James Hayes II
An exploitation masterpiece that joyfully relishes and wallows in its excessive sleaze, brutal violence and gratuitous sex! Hallelujah!!!
If your looking for a movie that is a perfectly stylistic rendition of what a grindhouse movie from the seventies wanted to be but probably never was then this shocker has everything you've been waiting for with style to boot. What makes this movie a winner is not just it's excessive bloodshed, in the form of bloody shotgun blasts to the upper torso of naked nuns, multiple blood-spraying head-shots leaving nice red meaty holes in the wide-eyed gaped-mouthed faces of the victims, or a corrupt priest having bullets pounded systematically into him in the form of a cross. It is not the bevels of naked slave nuns forced to cut cocaine instead of contemplating Christ, the rampant lesbianism involving strung-out biker chicks and rapture-seeking sisters of the cloth, the endless parade of beautiful dancing bare-breasted whores, or the scenes of rape that are so visually exaggerated and overzealous that they are as stomach-turning as they are comical. Neither is it the deliciously sadistic dialogue which ranges from surprisingly reverent, insightful and philosophical to the downright racially profane, colorfully sadistic and intimately vulgar.
This movie is ALSO great because it is so well-made. Despite other misguided hecklers who have denigrated the plot for being lacking in many regards the narrative structure is quite snakey, sophisticated and intelligent using flashbacks and a veritable sideshow of sleazoid characters to interlink all the violence, sex and perversion on screen while never failing to propel the twisted tale of Sister Sarah's vengeance full speed ahead towards it's ever increasing violent climax. Unlike in "Kill Bill" where Uma Thurman's character basically hops from one confrontation to the next in a tediously simplistic fashion Sister Sarah is surrounded by villainy and deceit in the form of psychotic bikers and sociopathic clergy all with their own agenda that is as equally threatening and as merciless as her own. The filmmakers and cast take considerable pleasure in fleshing out these unlikely though gleefully perverse situations and each scene and shot is greedily milked for every possible iota of sleaze, moral filth and sexual violence that they are worth.
Now technically the film is also a triumph of style, lighting and cinematography. The images manage to look both grimy and crisp in all the right ways. The picture is lit with heated reds, glowering dirty yellows, and somehow is still able to present a crisp picture while capturing the grimy corrupt texture of every image without being compromised by the shadowy murkiness of its own polluted atmosphere. Every image in the movie is shown with perfect clarity and yet the movie never loses its grip on its own dirty vile charm for a second. Amazing. The pacing is another amazing feat. The filmmakers seem to pride themselves on keeping the action not only going but as volatile as possible without losing cohesion, with constant zooms on exaggerated dramatic moments, colored filters and repetitive images creating visceral shot montages, and freeze frames to capture the moment of impact of many of the most violent scenes. The special effects are perfect for the movie's psychotic tone consisting mostly of perfectly formed gun-shot wounds that look good enough to stick your finger into. One last thing to mention is also the superior music and sound effects which effortlessly capture the mood of each scene while enhancing the violence and tension, both seen and unseen.
"Nude Nuns with Big Guns" deserves it's praise not only for it's energy, dedication to style, certainty of character, and unwavering delivery of all the violence and sex that have become iconic staples of the mythical exploitation genre, but for being a beautiful piece of cinematic art full of style, great lighting and cinematography, dead-on dialogue, great character acting, juicy plot and narrative, and doing it all on a meager budget of what the IMDb site estimates to be $85000. For that alone it is an incredible feat but even if the budget were five times that much I would still considerate it to be an incredible masterpiece of filmmaking talent that is equal to, and perhaps surpasses, the likes of Robert Rodriguez and Quentin Tarantio. I may not be an exploitation cinema expert but from what ideologies and iconography I've absorbed out of all the low-budget violence-filled and sex-soaked films I've watched when I think of an exploitation film this is exactly what I've imagined it to be.
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