NOTE IMDb
4,5/10
14 k
MA NOTE
Ajouter une intrigue dans votre langueThree bad girls travel to a remote desert hideaway to steal $200 million in diamonds from a ruthless underworld kingpin.Three bad girls travel to a remote desert hideaway to steal $200 million in diamonds from a ruthless underworld kingpin.Three bad girls travel to a remote desert hideaway to steal $200 million in diamonds from a ruthless underworld kingpin.
- Réalisation
- Scénario
- Casting principal
America Olivo
- Camero
- (as Ameríca Olivo)
Avis à la une
Bitchslap is a young unpretentious movie, no big names, no big budget. It has a story to tell, which involves six lovely breasts, and it tells its story with tightly focused exuberance, excitement, and a certain sense of wonder. There's none of that old Hollywood cynicism, no gratuitous manipulation of the viewer, no wandering, no missteps.
We're promised three lovely ladies who alternately fondle or beat the daylight out of each other and every passing male, and we get that. In loving slow motion, with dramatic explosions, bullets, and music, gallons of water, blood, and gasoline, and dialog that takes cinematic intellectualism out into the back yard and beats it to a pulp with a heavy shovel.
You can watch any movie on many levels. Don't go into this one expecting a complex plot, deep characterization, or philosophical questions. It's a cartoon based around breasts that does not demean women. This by itself should satisfy many of us. However, it is an intellectual movie in some ways, especially in its treatment of gender.
The tight focus and almost perfect presentation makes me think the team behind this really enjoyed making the movie and will give us more of the same, probably more sophisticated and ambitious, in the future.
We're promised three lovely ladies who alternately fondle or beat the daylight out of each other and every passing male, and we get that. In loving slow motion, with dramatic explosions, bullets, and music, gallons of water, blood, and gasoline, and dialog that takes cinematic intellectualism out into the back yard and beats it to a pulp with a heavy shovel.
You can watch any movie on many levels. Don't go into this one expecting a complex plot, deep characterization, or philosophical questions. It's a cartoon based around breasts that does not demean women. This by itself should satisfy many of us. However, it is an intellectual movie in some ways, especially in its treatment of gender.
The tight focus and almost perfect presentation makes me think the team behind this really enjoyed making the movie and will give us more of the same, probably more sophisticated and ambitious, in the future.
I think this movie is an excellent example of its genre . Great non-linear story-line , over the top insanely intense characters , lots of action.
Very "Quintin-esk". great twists in the story.
What, you say? You didn't know Robocop was a satire? Hmm, then you might want to skip Beyotch Slap (note: thanks, IMDb's profanity filter). Much in the tradition of the brilliant cinematic satirist Paul Veerhoven who did Robocop and Starship Troopers, Beyotch Slap is a cheeky, sarcastic jab at the hyper violence genre with a poignant message just below the surface.
The story unfolds in a teasing, non-linear way, beginning with an apocalyptic aftermath and then jumping back a few hours where most of the story takes place but frequent jumps to the weeks and months prior. That is, nothing is spelled out, and it's almost 3/4 through the movie before you realize why these 3 buxom babes are out in the middle of the desert with dead bodies piling up.
Beyond the twisty mystery, racy plot, witty dialogue ("Lick my love pump!"), cool action scenes, great cat fights (complete with a screeching cat sound effect or two when one of the ladies happens to get punched in the fun bun), what really makes this film is the fantastic dynamic between the 3 very different personalities of our protagonists and the excellent way each of the 3 leading ladies brings her character to life. There is the leader "Hel" who is the brains of the bunch, "Camaro" who is the muscle as well as sheer psycho element, and then there's "Trix" who is the ditzy tagalong who, despite being a sultry hot stripper, has the air of being someone who still believes in the Easter bunny.
Throw the 3 together along with a couple of awesome criminal characters, a few buckets of blood, a bunch of unapologetically gratuitous cleavage shots and a slow motion water fight, and of course the aforementioned biting satire of every chixploitation flick from the 70s, and you've got one bona fide cinematic work of art. I'm not even being sarcastic when I say that. If you grasp the tongue in cheek nature of this film, you'll find yourself very impressed and thoroughly satisfied at this gem of a movie.
I'm shocked that IMDb has rated this so low (4.5 as of the time I'm writing this), and my only guess is that the people rating this movie so low are the same people who think Spinal Tap is a real band.
The story unfolds in a teasing, non-linear way, beginning with an apocalyptic aftermath and then jumping back a few hours where most of the story takes place but frequent jumps to the weeks and months prior. That is, nothing is spelled out, and it's almost 3/4 through the movie before you realize why these 3 buxom babes are out in the middle of the desert with dead bodies piling up.
Beyond the twisty mystery, racy plot, witty dialogue ("Lick my love pump!"), cool action scenes, great cat fights (complete with a screeching cat sound effect or two when one of the ladies happens to get punched in the fun bun), what really makes this film is the fantastic dynamic between the 3 very different personalities of our protagonists and the excellent way each of the 3 leading ladies brings her character to life. There is the leader "Hel" who is the brains of the bunch, "Camaro" who is the muscle as well as sheer psycho element, and then there's "Trix" who is the ditzy tagalong who, despite being a sultry hot stripper, has the air of being someone who still believes in the Easter bunny.
Throw the 3 together along with a couple of awesome criminal characters, a few buckets of blood, a bunch of unapologetically gratuitous cleavage shots and a slow motion water fight, and of course the aforementioned biting satire of every chixploitation flick from the 70s, and you've got one bona fide cinematic work of art. I'm not even being sarcastic when I say that. If you grasp the tongue in cheek nature of this film, you'll find yourself very impressed and thoroughly satisfied at this gem of a movie.
I'm shocked that IMDb has rated this so low (4.5 as of the time I'm writing this), and my only guess is that the people rating this movie so low are the same people who think Spinal Tap is a real band.
if it wasn't for face paint and implants, the three leads would be pumping mocha mixer into Java at an L.A. convenience store for tips.
and the screen writer should be making change for the same franchise.
unfortunately; pulp fiction, spawned a legion of foul-mouthed wannabee scribblers, and this script is a glowing, specious example of that diseased, copy-cat genre.
the one redeeming thing in this film is the cinematography. it is very well shot. the format is well used, and the d.p. understands that the secret to good visuals is good lighting--something often overlooked by d.p.'s who jumped rungs on the ladder and skipped the lighting department. because of this, i actually watched most of this feature, even beyond the five minutes it took me to become bored with having that much silicone rubbed in my face.
a modern Thelma and Louise it ain't.
and the screen writer should be making change for the same franchise.
unfortunately; pulp fiction, spawned a legion of foul-mouthed wannabee scribblers, and this script is a glowing, specious example of that diseased, copy-cat genre.
the one redeeming thing in this film is the cinematography. it is very well shot. the format is well used, and the d.p. understands that the secret to good visuals is good lighting--something often overlooked by d.p.'s who jumped rungs on the ladder and skipped the lighting department. because of this, i actually watched most of this feature, even beyond the five minutes it took me to become bored with having that much silicone rubbed in my face.
a modern Thelma and Louise it ain't.
Starts off like a cheap porn movie, but turns out as quite a good action movie, Tarantino style. Lots of blood and violence. A lot of nice (mean but also in a good way) and nude girls. A story that rather falls in the background by what you get to see. Funny special effects that are not all that bad and fit the movie quite well. Lots of nice girls. Cat fights among hot girls. More girls, and yeah well, naked girls. This movie lives up to its title "bitch slap" rules this movie. And it has got Hercules, Kevin Sorbo in it. All in all if you are bored and got 1 1/2 hours to kill, give this movie a go but don't expect an A movie, more of a good B movie.
Le saviez-vous
- AnecdotesThe desert scenes where the majority of the locations were shot appear to be hot and arid, when in fact filming was done in mid and late March when it was still winter and the temperate during the day seldom rose above 60 F degrees in the sun, with wind chills making the outdoor temperature even lower. The cast, including the three female leads, spent most of the time between takes literally shivering under heavy winter coats that the wardrobe department brought along for just that.
- GaffesCamero has dark blond hair throughout the film except for one brief shot when her hair is dark black when she is about to drop a cigarette lighter to set Trixie on fire. It was an insert shot filmed months after production ended when America Olivio dyed her hair for a different film role that she took immediately after filming on this picture ended.
- Crédits fous"The characters displayed in this photoplay are fictitious. No really... It's all just make believe! Any similarity between our story and the classic and timeless works of William Shakespeare is purely coincidental."
- Bandes originalesBitch Slap (Take the Ride)
Written by Daniel Cieplinski and Leonardo Varela Rañon
Performed by Rebel Vengeance
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Détails
Box-office
- Montant brut aux États-Unis et au Canada
- 17 365 $US
- Week-end de sortie aux États-Unis et au Canada
- 12 254 $US
- 10 janv. 2010
- Montant brut mondial
- 439 587 $US
- Durée
- 1h 49min(109 min)
- Couleur
- Mixage
- Rapport de forme
- 2.35 : 1
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