The high-school student Matt Leland lives with his twin brother and sister and his father in a house by the lake. When the teenager Casey Roberts moves to the house on the other side of the... 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 »
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 <email@example.com>
A girl-power western for the MTV generation, Bad Girls blatantly rehashes plot elements from The Wild Bunch and Unforgiven but lacks the depth of characterisation, the moral seriousness and the real feeling for the Western's history that made those films such outstanding examples of the genre. Director Kaplan seems to think he's pulling off some revisionist coup by putting women in the central roles, but he offers only lame stereotypes which combine the hoariest of old Western cliches (they're prostitutes!) with the emptiest of post-feminist attitude-striking (they're the Spice Girls on horseback!). The real offence of the film, though, is its opportunism and dishonesty. These foxy chicks are ostensibly rebelling against the oppression of women, specifically their objectification as sexual objects. But as they kick ass Buffy- or Xena-style, the camera lingers on thier hot bods as it would in any soft porn exploitation flick. There's even a lesbian subtext to titillate the most jaded of gentlemen's palates. What purports to be some kind of feminist fable in fact has the sexual politics of your average issue of Loaded magazine. Better seek out the surreal Freudian poetry of Nicholas Ray's Johnny Guitar (1954) or the down and dirty realism of Maggie Greenwald's The Ballad of Little Jo (1993) for Westerns that have something substantial to say about sex and gender.
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