Bad Girls
directed by Christopher Bickel
starring Morgan Shaley Renew, Shelby Lois Guinn, Sanethia Dresch
Film Colacitta
If you can spend two whole days guerilla filming at a tourist trap like “South of the Boarder” (off I-95 on the SC/NC boarder), you have my vote for Exploitation Cinematic Excellence. Three hot babes start this drug and gun fueled blitz at bar somewhere in South Carolina and head out on the the road trip to hell. Leader of the pack is Valinda Washington (Morgan Renew), Carolyn Hills (Shelby Guinn) rides shotgun, and in the back seat, Itzi Chander (Sanethia Dresch) curates the drugs. They rip off strip clubs and drug dealers, and even shoot up a gun shop or two. When not collecting bonus points doing all these crimes, they eat strips of blotter acid and kidnap hunky guys. As they speed down the highway heading for the nearest state line, their car shrinks into an iconic speed mobile surrounded by digital streamlines and starbursts. These girls have good drugs; I’m still getting flashbacks from the contact high. When they check into a cheap hotel, the collect Rusty (Jonathan Benton) as a mascot. He wields my favorite line: “ Let me do some drugs with you and you can take me to the next town and kill me there.” A side trip to a pair of punk concerts two more hunks of man meat. The girls have all the action they can handle. It’s a muscle bound slave trio, and everyone is down in the galley.
This sex, drugs and gunpowder fueled ride is full of gratuitous sex, overdose of X and LSD, and a trail of dead bodies certain to attract some sort of police activity. That comes from hyper cranky white haired Special Agent Cannon(Mike Amason) and his large and lethargic side kick Special Agent McMurphy (Dove Dupree). The good doctor rants to move the plot along, and his as his sidekick drags it down the street with an undistorted view of reality. It’s a speed run through the heart of modern America, still toking and stripping and shooting anything that moves. Or might move. This is exploitation at its best, it never bogs down in plot or motivation or lectures. You cheer nearly every death as a landmark in resetting American film and reinvigorating B movies. If I gave stars, this film would get all of mine and I’d go steal more.
