This "direct to DVD" disaster is what happens when you combine "Assault of the Killer Bimbos" (1988) and "Undercover Brother" (2002) with a few sequences stolen from assorted exploitation movies. Make things worse by using a director with even less acting for the camera directing skills than Tony Scott showcased in "Domino" (2005). Just give him a script and a post-production editing style interchangeable with "Domino" and you end up with its unfortunate look and feel. I can recommend "Assault of the Killer Bimbos" and "Undercover Brother". I can't say the same for "Bitch Slap" or for "Domino"; it would take a second viewing of both movies to determine which is worse and I don't crave that level of self-inflicted punishment. So here are some random thoughts from my twisted mind:
The plot in exploitation films like these four is of little consequence, they are made for a target audience perfectly willing to suspend disbelief and ignore basic logic considerations about all manner of things in exchange for some high-energy action, mild comedy, and most importantly a lot of erotic thrills. Say what you will about "Assault of the Killer Bimbos" (1988) and "Undercover Brother"; but along with a decent level of comedy these films actually delivered some great erotic exploitation moments. You would think that "Bitch Slap", given that exploitation was its sole purpose, could manage the same.
The problem is that while Julia Voth is genuinely hot, the other two actresses have an aging soccer mom look, with testosterone features and manjaws. America Olivo has even higher mileage than Erin Cummings, an orange skin, and an almost staggering lack of acting for the camera skill. Rather than erotic energy, she is such a turn-off that her scenes (even catfights) range from sterile to repellent. Director Rick Jacobson was associated with the short-lived television series "Cleopatra 2525", which featured Victoria Pratt. Pratt's acting style and strangely "less than zero" sex appeal appear to be the qualities he was seeking when he cast Olivo. And they wonder why these things lose money.
The quickly "television toast" "Cleopatra 2525" (a sort of female "Buck Rogers in the 25th Century") suffered from the exploitation curse of a clueless wardrobe manager. The far more wholesome target audience of "Buck Rogers" was treated each week to sharp focus close-ups of curvy actresses parading around in tight spandex and boots. Cleopatra's heroines had to get by with a thrift shop quality wardrobe that managed the seemingly impossible feat of making Jennifer Sky look like something out of "The Grapes of Wrath" (1940). "Bitch Slap" mostly goes for this same thrift shop look except for a slicker look in several brief flashback scenes. And they wonder why these things lose money?
Jacobson's idea of parody is to simply steal an idea and duplicate it in his movie; defying logic by doing it in a "less" rather than "more" over-the-top manner. Some clueless producer must have thought this would impress any viewers who did not see the original and pass it off as parody to those more knowledgeable (as justification for the lack of originality). For example, "Bitch Slap" simply appropriates "Kill Bill's" Japanese school-girl uniform assassin idea, replacing the teenage Chiaki Kuriyama with a bored looking middle-aged Asian actress. And they wonder why these things lose money.
Jacobson was also associated with "Xena: Warrior Princess" and the action sequences he directed for "Bitch Slap" are of the same hyper-edited style. Like that series, the fight sequences simply do not engage a viewer, as without exception they consist of separately shot one-second moves taped together in post-production.
There are a few other Tarantino and Russ Meyer elements in "Bitch Slap". All suffer in comparison to the originals. None rise to the level of good self-reflexive parody. Don't believe any comment favorably comparing this film to Meyer's "Faster, Pussycat! Kill! Kill!" (1965). There are no Lori Williams' or Susan Bernard's in this cast. Although Olivo shares Bernard's Playboy Magazine connection, in her case it mostly serves as an illustration of the ability to digitally enhance a photograph. And they wonder why these things lose money.
The plot in exploitation films like these four is of little consequence, they are made for a target audience perfectly willing to suspend disbelief and ignore basic logic considerations about all manner of things in exchange for some high-energy action, mild comedy, and most importantly a lot of erotic thrills. Say what you will about "Assault of the Killer Bimbos" (1988) and "Undercover Brother"; but along with a decent level of comedy these films actually delivered some great erotic exploitation moments. You would think that "Bitch Slap", given that exploitation was its sole purpose, could manage the same.
The problem is that while Julia Voth is genuinely hot, the other two actresses have an aging soccer mom look, with testosterone features and manjaws. America Olivo has even higher mileage than Erin Cummings, an orange skin, and an almost staggering lack of acting for the camera skill. Rather than erotic energy, she is such a turn-off that her scenes (even catfights) range from sterile to repellent. Director Rick Jacobson was associated with the short-lived television series "Cleopatra 2525", which featured Victoria Pratt. Pratt's acting style and strangely "less than zero" sex appeal appear to be the qualities he was seeking when he cast Olivo. And they wonder why these things lose money.
The quickly "television toast" "Cleopatra 2525" (a sort of female "Buck Rogers in the 25th Century") suffered from the exploitation curse of a clueless wardrobe manager. The far more wholesome target audience of "Buck Rogers" was treated each week to sharp focus close-ups of curvy actresses parading around in tight spandex and boots. Cleopatra's heroines had to get by with a thrift shop quality wardrobe that managed the seemingly impossible feat of making Jennifer Sky look like something out of "The Grapes of Wrath" (1940). "Bitch Slap" mostly goes for this same thrift shop look except for a slicker look in several brief flashback scenes. And they wonder why these things lose money?
Jacobson's idea of parody is to simply steal an idea and duplicate it in his movie; defying logic by doing it in a "less" rather than "more" over-the-top manner. Some clueless producer must have thought this would impress any viewers who did not see the original and pass it off as parody to those more knowledgeable (as justification for the lack of originality). For example, "Bitch Slap" simply appropriates "Kill Bill's" Japanese school-girl uniform assassin idea, replacing the teenage Chiaki Kuriyama with a bored looking middle-aged Asian actress. And they wonder why these things lose money.
Jacobson was also associated with "Xena: Warrior Princess" and the action sequences he directed for "Bitch Slap" are of the same hyper-edited style. Like that series, the fight sequences simply do not engage a viewer, as without exception they consist of separately shot one-second moves taped together in post-production.
There are a few other Tarantino and Russ Meyer elements in "Bitch Slap". All suffer in comparison to the originals. None rise to the level of good self-reflexive parody. Don't believe any comment favorably comparing this film to Meyer's "Faster, Pussycat! Kill! Kill!" (1965). There are no Lori Williams' or Susan Bernard's in this cast. Although Olivo shares Bernard's Playboy Magazine connection, in her case it mostly serves as an illustration of the ability to digitally enhance a photograph. And they wonder why these things lose money.