Available on DVD
Irreverent, bombastic, tossing its tawdry, trashy lineage right into the viewers’ face, Bitch Slap bombards the viewer with hooky acting, titillation, cleavage (through the entire film), gore, off the wall action, and enough twists to give Tarantino whiplash. Riding on the tale-end of the new Grindhouse wave initiated by the release of Grindhouse (2007), Bitch Slap succeeds where most fail. It starts and ends with the dialogue and Bitch Slap gets it right (or so wrong its right). Unlike Death Proof, Bitch Slap’s dialogue is not overly indulgent. It is comedic, comic yet somehow it’s never Twilight-bad. The acting from many of the characters is campy but it is that way by intention not by accident or because the actors and actresses are inept. Watching Camero (America Olivio) over act her lines and facial expressions are at times trying and others, a hallmark of B-movies Bitch Slap is homaging (watch for the pill popping scene).
The beginning credit sequence is very important to what the viewer will be watching later when the actual film begins. It is in this that the 1950-1970’s film linage to which Bitch Slap is ascribing to is established and what it advances a few steps with new technology.
Bitch Slap is a film that appeals to the lowest common denominator and its blatant which demographic the film is aimed at. One thing that I always found curious about action/horror movies is that they always present and extinguish on-screen T&A quickly yet the reason for its inclusion in the first place was because they think that is what the audience wants and expects. Bitch Slap presents its ogle material within the first minute of the film and its always present, no matter the situation, for the entirety of the film, no matter how ridiculous or uncalled for it is.
Building a Better B-Movie Documentary
This documentary is split into three parts. At first the viewer is in Pasadena, California on April fools Day 2008 and then, 21 Days earlier, they are in Van Nuys, California.
Part 1 – Getting Started. Director Rick Jacobson talks about how he wanted complete control over his movie projects and how Bitch Slap came into beginning, a film with: hot girls, guns, limited location, and no nights. Parts of Julia Voth‘s screen test (looking hot) are shown and she talks about how Bitch Slap was the fifth audition she had ever been on and that she started taking acting lessons after she got the part. She also watched behind the scenes films (Michael Caine’s) to know how to act on a movie set. Erin Cummings‘ screen test footage is shown as well and there is a moment where she turns around and just shows her ass to the camera, in an attempt to show she has a since of humor about herself. Classic. America Olivia thought she might have been auditioning for an adult film because of the title of the film.
The director and the producer talk about meeting in Jerry’s Deli and trying to triumph each other with their writing for the script for a year, laughing their asses off as they did because of the numerous nature of the film’s dialogue. They speak about how the script had micro biographies for all three girls and how the idea of going in reverse for their back stories came about. The A and B storylines are discussed: One moving forward and one moving backward. This was interesting because I didn’t realize so much was going on at the same time. My attention was on…ahem…other things. The producer mentions he is a fan of Memento.
The viewer finds out that Kevin Sorbo wanted to play HotWire and that Zoe Bell was the fight coordinator and stand-in for the film.
Part 2 – Production Techniques. At the Bigoudi Salon, Erin Cummings hair is turned red. She tabs her scenes in different colors, Patrick Bateman style. Vali, the production designer is introduced. Green screens and dildos, I’m not kidding. Pull-Up Bar contest on set, to lighten the film set mood.
Part 3 – Bringing it Home. Michael Hurst is a professional. Montage of the behind-the-scenes footage. Erin plays to the camera whenever she sees it on her. Town House Motel. Subway dinners. Director and producer had four jobs. Enjoyable shooting experience. Conducted, shot, and edited by Daniel Cieplinkski. Watch Julia Voth during the credits walking by in a skimpy outfit and high heels and a little boy is seating there watching, eating chips. She sees the kid looking at her and keeps on walking.
There are two commentary tracks on this edition of Bitch Slap. One is with the director and the producers of the film and the other is with the main female cast of the film.
Director and producers of the film. They discuss the veteran actress that did the voice over for the fillm and how the title sequence took several months and was done by a friend of Erin Cummings. The viewer finds out the Camero pill scene (present in this version) is not in the regular version of the film (I noticed that myself since I saw the regular version of this film) and is “the Bitch Slap take” on Gary Oldman’s pill scene from Leon: The Professional. The viewer finds out that the original cut for Bitch Slap was 2hours and 10 minutes long with over 900 visual effects shots and that this version has over 800 visual effects shots. They mention that 30% of the first 20 minutes of the film has yet to be seen.
The main female cast of the film. America Olivia talks about her deleted pill scene, Erin Cummings about her friend that did the title sequence. They talk about a foreshadowing scene that was cut. They also talk about their experiences on the set of the film.
If you want to watch a film that does not take itself seriously, want a new drinking game film, miss Baywatch, like stuff blowing up and hot chicks, check out Bitch Slap.