Assault of the Killer Bimbos (1988)
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There is only one real car chase in the film, but it's done very well, and features a great cameo from professional nerd Eddie Deezen as a clueless police officer and a unique use for lingerie. ASSAULT is a rather short film, but then again, the film makers probably didn't want the joke to wear thin. I lover how the girls get revenge on the guy who framed them, and earlier in the film where they give a lecherous, crooked gas station owner what-for when he tries to rip them off. It's also funny how Peaches (the 'leader' of the Bimbos) tries to artistically justify go-go dancing.
Overall, this was a great, funny movie, with sexy girls and great humour. May not be to everyone's taste, but I liked it.
In this one, "bimbo" isn't so much an insult as it is a call to arms to just about every woman in it. They band together, seek out their fortunes and make names and faces for themselves against the tyrannical machinations of the men surrounding them.
And if they happen to be go-go dancers, all the better.
And the cast! Not only is patron saint Kaitan featured, but so are familiar names like Cassavetes and O'Neal (offspring, not fathers), as well as the big mack daddy himself, Eddie Deezen. With his name on the credits, you can be assured of at least one funny moment. Maybe two.
In the end, they may "Assault" but these "Bimbos" are basically just good-natured gals looking for a good time. And MAN, do they look comfortable stretched out on the beach.
Two stars, but two well-meaning, good-natured stars. If its laughs you want and lots of go-go dancing, not to mention Eddie Deezen, rent this "Killer" movie.
The women in the movie are written to be a likable bunch, and the actresses playing them are a talented bunch, but the screenplay is pretty one-note with them. After a while, these characters seem to just be doing the same thing over and over again. That may be because the screenplay stops advancing the plot after the first twenty minutes or so, and does not start advancing the plot until the last ten minutes.
Eddie Deezen does liven things up with his appearance (no movie can be completely bad if it has Eddie Deezen), but he's only in the movie for a few minutes.
Also, the screenplay is seriously lacking in sleaze. There's hardly any nudity, no sex, and a minimum amount of PG-style violence.
Did this movie inspire "Thelma & Louise"? Probably not, but you never know.
Elizabeth Kaitan (or Cayton, from the movie Slave Girls) is a co star in this flick that is kind of a Thelma and Louis b-movie. Two exotic dancers (bimbos) get framed for a murder by being bimbos (blatantly stupid). They hop in a car and partake in some adventures.
They meet up with surfer guys, gangsters, and cops. Pretty well getting chased around the highways until they finally get to Mexico.
The girls flaunt their sexy bodies and act totally like bimbos...I suppose the main idea for the movie. Absolutely nothing else happens in this movie.
First, at least to please me, slapstick comedy must present a mix of `high' and `low' tones. The Marx Brothers interject high tone through music performances, through inclusion of high-class and rational characters - wealthy spinsters, etc. - and through a structure that permits each of the brothers a solo performance, whether on harp, piano or (more questionably) one-on-one clever dialogue. Godfrey employs a languishing piano virtuoso - Carlos, the family protogé - as essentially a clown who actually performs romantic music. The role of art is to entertain and to uplift - `elevare et delectare'.
Drama requires contrasting characters - i.e., texture. The Three Bimbos were not enhanced dramatically by joining forces with three more bimbos - the surfers - and things only became blander as policemen, café crowds, etc., all turn out to be just as `bimbo' as our heroines. Our girls needed to stand out as unique, to contrast against society - e.g., perhaps to fall in with higher-tone `road' figures, like a Woody Guthrie group. We could have watched the three bimbos' tails wagging as they picked melons with the Mexican `temporarios' in the farms along the Colorado, we could have shared the enchantment of fireside music and dance under a huge Arizona sunset. The movie could have ended with our three bimbos waddling off into the sunset like Charlie Chaplin and his sweet sidekick in Modern Times.
The film needed to introduce nostalgic elements to give the humor a bittersweet texture. National Lampoon's Animal House achieves nostalgic counterbalance through enacting slapstick absurdities that recall deep sentimental memories to the minds of many a typical old-college grad - i.e., within each slapstick act hides a kernel of emotionally rooted truth.
Last, our three actresses were not used in either a complementary or complimentary way - indeed, the least charismatic of the three is given the opening scene and the most exposure. Kaitan's minuscule strip at the foot of a scraggly joshua tree only seems a desperate attempt - perhaps an improv, like the three surfers' quick Stooges routine - to inject some shred of life into the work. But the wreckage was too great for Kaitan to save - not even Superman could have done that alone - and Tammara Souza, the third bimbo, isn't even given a chance. Yes, I prefer the Bimbos to T & L, though that isn't saying much. I still respect Susan Sarandon, but far too much as an after-effect of her performance many years ago in the television film, The Last of the Belles - for which I've forgiven many an indiscretion ever since - but not all. For me, her time has come and gone - however much I commiserate with that universal need to make a living. If T & L merits a 7-rating, the Bimbos merit a 9. But that's impossible. I would rate T & L at 2 and our sorry bimbos at three and a half. What a shame - because for so little additional investment in time and money, this film could have been so much better. I guess the real bimbos were the director and producer?