Big Bad Mama II

My review was written in October 1987 after a screening in Parkchester, the Bronx.

"Big Bad Mama II" isw a very embarrassing followup to the 1974 Angie Dickinson drive-in hit. Currently in regional theatrical release, cheapie was advertised to open at three Manhattan sites but bumped to bookings in the other boroughs only.

As with producer Roger Corman's novel redoing of hsi "Jackson County Jail" as a "parallel world" sequel called "Outside Chance", "Mama II" is not a sequel to the original pi. Only Dickinson encores, as Wilma McClatchie, a gun-toting, tough-talking 1930s gangster in the mode of Ma Barker and Bonnie Parker. Her sexy daughters (Susan Sennett and Robbie Lee in the 1974 film; Danielle Brisebois and Julie McCullogh currently) are left fatherless in a prolog wherein villain Bruce Glover has their dad killed and the family evicted from their homestead.

Dickinson vows to get Glover, who is running for governor of Texas. She kidnaps his son (Jeff Yahger) and inducts him into her family band of bank robbers. Pic at this point becomes virtually plotless, with a hapless Robert Culp along for the ride as a Philadelphia reporter out to exploit the outlaws' story (and romance Dickinson). An action montage of footage from the first film is used to suggest scope and save money.l When not straining for idiotic "socially redeeming value" in having Dickinson show solidarity with striking miners and Hoovertown denizens, pic is one long rehash with endless machine gun fire, exploding squibs and period car chases.

Ita main thrust is to provide some skin for those successors to the drive-in: home video and paycable. Big surprise is that former tv child star of "Archie Bunker's Place", Danielle Brisebois, goes topless in a requisite frolic in a pond with sis McCullogh and in the process handily proves to have a better body than the former Playboy centerfold model. Dickinson has a nude bed scene with Culp, but is obviously subbed for b a body double this time.

The Peter Principle has former Corman publicis and writer for "Castle of Frankenstein" magazine Jim Wynorski directing this mess, which falls into the "no retakes" school of cinema. Actors' readings suffer accordingly and sense of ripoff is underscored by Chuck Cirino's music which draws heavily (and without credit) upon the work of Ennio Morricone, particularly his "The Good, the Bad and the Ugly" score. Idiotic ending features Dickinson in a white wig in 1987 with great-granddaughter Willie (played by Kelli Maroney) to carry on the family tradition.

Big Bad Mama II (1987)

*** (out of 4)

This "sequel" to the 1974 cult classic is more of a remake since the events in the first film are overlooked and the characters are pretty much starting from scratch. This time out after her husband is murdered, Wilma McClatchie (Dickinson) takes her daughters Billie Jean (Danielle Brisebois) and Polly (Julie McCullough) on a crime spree so that they won't have to go to bed hungry at night. Mama decides to get even with a crooked politician (Bruce Glover) by kidnapping his son (Jeff Yagher) but things don't go as planned. BIG BAD MAMA II was shot in about two weeks for an extremely small amount of money so one should keep that in mind. What's so funny is that director Wynorski knows that this isn't going to be an Oscar-winner so instead of trying something fancy he just keeps the film moving at a nice pace and throws in as much action as he can. The movie certainly isn't high quality and there's no question that it's not nearly as good as the first movie but I think the characters are so memorable and the cast do such a good job with them that you can't help but have fun as long as you don't mind this type of "B" film. Dickinson does a fine job in her role as she has no problem playing tough and she's still quite believable in the part. Robert Culp plays a reporter/love interest and he too does a fine job. I've read some reviews that said he looked embarrassed but I don't agree at all as it seems he's having a wonderful time and he has some nice chemistry with Dickinson. Brisebois is fine playing the tough daughter while McCullough is awfully cute as the good girl. Even Yagher is enjoyable in his part and fans of HALLOWEEN will enjoy seeing Charles Cyphers in a quick bit. Glover really steals the film as the sleazy bad guy as you can't help but get a real kick because he's certainly a no-good snake that you love to hate. The director keeps the film moving at an incredibly fast pace and we're treated to all sorts of action with non-stop bullets going around and we even get several explosions. In true Roger Corman fashion we even get a sequence where some new footage is mixed in with mostly scenes from the original movie. The nudity on display, especially that of McCullough, just adds to the fun. One strange thing is that in 1987 just about anything could go in the direct to video market (this did hit a few theaters) but this film is actually a lot tamer than the original with much of the sleaze cut out.

When their home is repossessed, Wilma McClatchie's husband is killed and she and her two nubile young daughters set out to rob anything belonging to the owner of the bank concerned.

First of all, being a Jim Wynorski movie, you have to have low expectations. But even for him, this is rather a dud. Not his worst, but far from his best. Second, you have to wonder why Angie Dickinson would agree to this. Being in the first one was "slumming it", so this is practically an insult. Though surprisingly for a Wynorski film, this may have less nudity than the original.

And then there is the strange overt political message. Maybe I missed it, but I don't recall the talk about Hoover shanties and the rich against the poor in the first film. This time it is really blunt, not even cleverly worked in. What exactly is the point?

Evicted from their homestead in a bloody shootout, Wilma McClatchie (Angie Dickinson) and her daughters, Polly and Billie Jean (Julie McCullough and Danielle Brisebois) must fall back on their penchant for armed robbery to survive.

Let the fun begin!

Basically, one big gun battle after another, interrupted by nudity, BIG BAD MAMA 2 is Director Jim Wynorski's cheeeze-filled sequel to Roger Corman's cult classic. This time, Robert Culp is along for the frivolous festivities.

As with the first film, Ms. Dickinson is what saves it from being a total abomination. Without her, this wouldn't be just schlock, it would be far more burdensome schlock! While nowhere near as good as the original, it does have a certain charm, usually involving the McClatchie sisters!

Actually, what hurts BBM2 the most is the fact that the first movie was shot in the 1970's, and had that aesthetic going for it. This movie was made in the late 1980's, and definitely has that decade's low-budget clunk-i-tude going on!

The final conflict is especially amazing, as the apparently-immortal McClatchies take on the entire police force!

Sooo, STEP ONE: Remove your brain and put it in your pocket. STEP TWO: Pray for the best, but expect the worst. STEP THREE: Enjoy...

You watch this film because of the attractive women, not because you expect The Godfather', 'Bonnie and Clyde', or even 'Scarface.' Angie looks great (although she may be body doubled during her sex scene with Culp), and McCullough and Brisbois are barely clothed throughout, thank you very much. Otherwise, this is a clumsily written, directed and acted pile of junk. The action scenes are some of the worst staged for the screen, with Glover, Culp and others standing around, unconcerned, as explosions go off and bullets fly around them. Cops fire endless rounds at Angie and her girls in their jalopy and neither the car or the girls are ever scratched. Plotwise, we've got Dickinson and her girls shooting up cops and blasting their way out of banks then racing off... but the cops never follow. In fact, nobody seems to be after these brazen criminals except Culp, the reporter. The cops are apparently stumped, but Culp finds them without any effort, time and time again. It's all so obviously stupid, and the leads know it. Culp and Dickinson treat the film like a 'Smokey & The Bandit' lark with barely suppressed laughter in many of their scenes. But, once again, you're here for the feminine pulchritude.