Hold-Up a El Paso

Some B-Movies are so bad they're good, some are so cheesy they're good, while others push the boundaries of reality to give an over-the-top experience that is enjoyable. This fits in the category of just being a well told story that delivers in every aspect. From the acting to the pace to the set piece all brilliance and would be the pride and joy of any director.

Tiffany Bolling puts in an absolute stellar performance as one of the best characters of all time in Ellie-sexy, seductive, cruel, tough as nails and devious. Along with her sister Myra (Robin Mattson) who are the focus of the local peeping tom community in their small town. After suffering years of abuse from their step-father, Charley played by Leo Gordon in such a small role he instantly becomes one of the most iconic villains of all time. They finally have had enough of the abuse and take the law into their own hands. On the run they find solitude in their uncle's mansion, Ben (Scott Brady) who runs a top shelf magazine and isn't as clean cut as first perceived. With the set-up of a package collection and drop off, the film spirals into a pulpy-crime classic and we are left guessing at every corner. Involving two ruthless smooth gangsters Digger (Timothy Brown) and Eddy (Alex Rocco), a charming private detective Larry (Steve Sandor), an unhappy wife Diana (Lenore Stevens), an annoying salesman Frank (Max Showalter), a handsome buck Harry (Nicholas Cortland) and other characters who all put in a top notch performance. It all culminates to a finale you do not see coming.

With classic cars, exploitation, pure 70's style, great thrilling and suspenseful action this film packs a punch. The acting is spot-on (If there is a weak spot and I'm being harsh, it could be Robin Mattson or Lenore Stevens at times), the music is pure quality and fits every scene to a T, the whole film is perfectly paced and flows smoothly. If you are into grindhouse, B-Movies, gritty-crime, exploitation, Tarantino or the Coen Brothers you should give this entertaining film a watch. It is as cool as ice, as fluid as funk and just one all out joyride.

This could easily be a 10, but I'll have to re-watch this a few times to make sure.

For the fans of Cheese, I think this is one of those rare films that got everything spot on. If there is cheese, I missed it.

Note: Not for the bad movie lovers.

This is a thoroughly entertaining 1970's sleazy crime film - where desperate people do desperate things for sex and money. The clothes, the music, the lingo, the hair styles - a great time capsule of the early 70's. The curious thing is the movie has some real interesting quirks to it - one being a "salt and pepper" hit team - white guy, black guy who spend a lot of time walking hallways, sitting in a car, sitting in diners and talking about this and that - very much like Travolta and Jackson in "Pulp Fiction". Now, is THIS film the first to have such a hit team - probably not. But in the theatre midnight movie showing I saw it at - many people were shouting out the "Pulp Fiction" similarities. Hmmmm. Just like many people bring up the jewel robbery in the powerful Asian crime film "City On Fire" as the "inspiration" for the jewel robbery in "Reservoir Dogs". Hmmmm. Anyway, the movie of "Bonnie's Kids" is a blast - good and gritty and Alex Rocco (Moe Green in the Godfather and the Emmy-winning sleazy agent in the short-lived comedy Famous Teddy Z) is the white guy assassin.

In the world of B cinema, they don't come much better than BONNIE'S KIDS...the few unavoidable shortcomings of its low budget are equalized by a seamy pulp narrative which is briskly paced and sexy as hell. Ambitiously played by a cast of highly capable lower-tier performers, all of whom should have been better utilized in Hollywood, this unassuming little offering stands as one of the crown jewels of 70s drive-in fodder.

Noir-ish story involves two young sisters who ice their lecherous stepfather and beeline to the Los Angeles home of their wealthy mob-boss uncle. Indurated by their difficult upbringing, but fiercely determined to get ahead, the girls are quick to realize the prepotency of their supple young bodies. One of them seduces their closet-lesbian aunt, while the other ropes-in a hard-luck private dick who's been hired by some shady suits to intercede the transit of a "special package". What ensues is a gritty, violent crime story with more flurried excitation, concupiscent titillation, and shifty maneuvers than a Crisco coated Naked Twister marathon.

On a scale of 1-10, BONNIE'S KIDS gets a solid 8.5...right up there with its theatrical release co-feature THE CANDY SNATCHERS. Both films are B classics which approach dispiriting subject matter with an edgy, sardonic tongue-in-cheek. Recommended.

This movie is really good at accentuating how pretty its women are, and how sleazy its men are, and at that mostly outright predatory. To emphasize how good it is at these things, it gives us fairly regular shots of women topless, with additional shots of women in scant clothing, and even fifteen-year old star Robin Mattson is not excluded. To much the same point, even men's own family members are not safe from their predation, and any cops we see in passing are just as rotten. My, my, if all such sleaze were piled any higher then this would be a film about conservative politicians! Somewhere amidst all the dubiousness - further including some deviousness from the female characters, and pointedly, cheekily counterbalanced with very bouncy music - there is a plot about sisters Ellie and Myra looking out for each other, and eventually some shenanigans about dirty money. I say "eventually" because in a runtime of a little over 100 minutes, we're basically halfway through before that plot more or less begins to take shape, and longer still before that plot begins to truly progress. Up to that point, and still more past it, 'Bonnie's kids' is more of a loose assemblage of characters toying with each other in one way or another.

Look, now Ellie and Larry are dancing and giving each other eyes! Well, isn't that just so sweet. Will this turn out to be more important than it's made out to be in the moment? You bet! Conversely, Myra just disappears from our screens for a surprisingly long time.

The premise sounded interesting. I won't argue with filmmaker Arthur Marks, the women are indeed beautiful. The music is catchy and enjoyable, whatever the precise mood it's embracing. The cast give committed, commendable performances, with Mattson and even more so Tiffany Bolling surely standing out most as Myra and Ellie. This is well made in most every regard, including the editing and cinematography, the costume design, the hair and makeup, and so on. I like the narrative in and of itself, and the scene writing is fairly strong. I do like the ideas on hand, including the characterizations, and in fact the material is primed for a rather dark, absorbing, stimulating neo-noir thriller. I think the whole would be far more solid if Marks weren't so lackadaisical about developing that narrative, and if he didn't shove most of the substance into the relatively small corner of the last two-fifths. Very much accentuating the point: just as the overall sleaze is most predominant in the first forty-five to sixty minutes, and the unhurried storytelling, as the plot truly kicks off in the latter half, Marks left himself so much to do and show in such comparatively little time that the pacing seems rushed, failing to give scenes, beats, and ideas all due time to resonate. Oops.

On another note, we can perhaps accept the misogyny, otherwise touches of sexism, and a racial slur as being part and parcel of the saga, and the figures it presents to us. A homophobic exchange of dialogue, however, is plainly unnecessary and earns a demerit.

Anyway, yes, the pacing shifts from "la, la-laa, la-laa" to "go, go, go," and similarly, the tone shifts from "do, dee-do, dee-do" to "oh man, it's going down, now." I'll grant that this tends to be the narrative structure in most any work of fiction, but the shifts here are glaringly unnatural, not to mention forced and brusque owing to Marks' direction. Carson Whitsett's music similarly becomes more intense and grabbing, and it's superb in and of itself - but again the disparity is noteworthy in an unfortunate manner. The first long stretch that traipses along needed to be tightened; the back end needed more room to breathe as the seediness explodes into jarring violence with a swift gait. With all this firmly in mind, I still believe the picture is enjoyable and worthwhile, and it's better than not. Really, at its core this is flush with potential that should have let it stand tall beside its genre brethren. It's just regrettable, therefore, that the faults stand out so vividly, almost threatening to outshine the value 'Bonnie's kids' boasts. By all means, check this out if you have the chance to watch, for it earns a fair recommendation, and may you like it more than I did. Why, I myself want to like it more than I do. Would that the two unequal halves had been treated more carefully.

I do love a good sleazy seventies crime flick, and Bonnie's Kids is certainly a very good sleazy seventies crime flick! The main reason this film works so well is because everything about it is absolutely spot on - writer-director Arthur Marks creates a real gritty and sleazy atmosphere that fits his plot brilliantly, while lead actresses Tiffany Bolling and Robin Mattson both manage to pull off performances that are sexy and tantalising as well as being deceptive and as far away from 'innocent' as you can get! The film makes best use of its elements and what we end up with is pure drive in gold! The plot focuses on two girls, Ellie and Myra, the daughters of deceased town tramp "Bonnie". After their no good stepfather tries to rape the younger daughter, the older one blows him away with a shotgun and the two daughters decide to go and stay with their only relative, Uncle Ben, in his lavish mansion in El Paso. The two get involved with their new lives, and soon enough the older daughter is asked to run an errand for her uncle, but when a chance to steal a load of money presents itself; she takes it...

The plot of this film is great in that we get a basic premise and from there it's never clear where it's going to go. Arthur Marks' script has plenty going on in it; the main story always revolves around the girls, but there's enough going elsewhere and with other characters to ensure that it's always interesting and the 105 minute runtime is certainly not packed with filler! The film is also good in that it's clearly a product of the time in which it's made - everything about the film clearly sets it in the seventies; the fashions, the music, the cars, houses etc are all exactly what you'd expect from a film like this. There's a real lot of themes that are common in seventies exploitation that made it in too, from sex and shooting to lesbianism and teenage angst. The fact that the film is not predictable is carried on all the way to the end, and the climax really does come as a big surprise and was not what I was expecting! Overall, this might not appeal to all tastes, but for my money, Bonnie's Kids is an out and out drive in classic and should not be missed by anyone who considers themselves a fan of films like this one!