Plantiana Yawn. Poorly Filmed Snooze Fest.

Micransix Crappy film

Kidskycom It's funny watching the elements come together in this complicated scam. On one hand, the set-up isn't quite as complex as it seems, but there's an easy sense of fun in every exchange.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Oskado Bimbos is a work of slapstick theater. In contrast, I consider its derivative, Thelma and Louise, a work of junk Americana - to me perhaps all the more junky since I live in that film's playground. But back to our Bimbos. Early in this work, three surfer-boy characters perform a brief Three Stooges parody as though to set tone and genre. Unfortunately, the film falls short of developing that tone as a well-balanced work. If I compare Bimbos to works of the Marx Brothers (together with their faults of excess) or to films such as My Man Godfrey, or to full-length films by Charlie Chaplin, I conclude the following:First, at least to please me, slapstick comedy must present a mix of `high' and `low' tones. The Marx Brothers interject high tone through music performances, through inclusion of high-class and rational characters - wealthy spinsters, etc. - and through a structure that permits each of the brothers a solo performance, whether on harp, piano or (more questionably) one-on-one clever dialogue. Godfrey employs a languishing piano virtuoso - Carlos, the family protogé - as essentially a clown who actually performs romantic music. The role of art is to entertain and to uplift - `elevare et delectare'.Drama requires contrasting characters - i.e., texture. The Three Bimbos were not enhanced dramatically by joining forces with three more bimbos - the surfers - and things only became blander as policemen, café crowds, etc., all turn out to be just as `bimbo' as our heroines. Our girls needed to stand out as unique, to contrast against society - e.g., perhaps to fall in with higher-tone `road' figures, like a Woody Guthrie group. We could have watched the three bimbos' tails wagging as they picked melons with the Mexican `temporarios' in the farms along the Colorado, we could have shared the enchantment of fireside music and dance under a huge Arizona sunset. The movie could have ended with our three bimbos waddling off into the sunset like Charlie Chaplin and his sweet sidekick in Modern Times.The film needed to introduce nostalgic elements to give the humor a bittersweet texture. National Lampoon's Animal House achieves nostalgic counterbalance through enacting slapstick absurdities that recall deep sentimental memories to the minds of many a typical old-college grad - i.e., within each slapstick act hides a kernel of emotionally rooted truth. Last, our three actresses were not used in either a complementary or complimentary way - indeed, the least charismatic of the three is given the opening scene and the most exposure. Kaitan's minuscule strip at the foot of a scraggly joshua tree only seems a desperate attempt - perhaps an improv, like the three surfers' quick Stooges routine - to inject some shred of life into the work. But the wreckage was too great for Kaitan to save - not even Superman could have done that alone - and Tammara Souza, the third bimbo, isn't even given a chance. Yes, I prefer the Bimbos to T & L, though that isn't saying much. I still respect Susan Sarandon, but far too much as an after-effect of her performance many years ago in the television film, The Last of the Belles - for which I've forgiven many an indiscretion ever since - but not all. For me, her time has come and gone - however much I commiserate with that universal need to make a living. If T & L merits a 7-rating, the Bimbos merit a 9. But that's impossible. I would rate T & L at 2 and our sorry bimbos at three and a half. What a shame - because for so little additional investment in time and money, this film could have been so much better. I guess the real bimbos were the director and producer?

jwpappas How can you not love this campy B flick! Made on a VERY low budget by people who made the most of it. "Thelma & Louise" which came a few years later lifted the basic plot. Featuring characters named "Peaches" & "Shifty Joe", future director Nick Cassavettes & the immortal line "Oh no, a bimbo with a gun!"

jjw8 Even in the rarefied air of b-movies this is a stinker. Unlike the work of the fun B directors (H. G. Lewis, Fred Olen Ray, Al Adamson, even Ed Wood) this commits the cardinal sin of being boring. There's no energy, style or fun to this movie. It's just a tedious, drawn-out chase plot featuring three scantily clad women, of whom only Elizabeth Kaitan is worth a second look. (It's no coincidence that she's the only of the three who subsequently had any sort of career.) Even the bad actors (and there are plenty) are boring. Only Kaitan and supergeek Eddie Deezen bring anything to this party. The picture also deserves special mention for two of the lamest performances ever given by famous actors' offspring in one movie, courtesy of Griffin O'Neal and Nick Cassavettes as zonked out surfers. How did this mess ever develop a cult following?

hippiedj There is a special place in my heart for this wacky film. Not only is the plot similar to Thelma and Louise, it came out before that one! It's lighthearted, full of one-liners, and surprisingly tame on the "let's show some breasts" element. I appreciate the fact that nudity was not a chief concern for this story. I never thought these gals were dumb at all, the references to them as bimbos came from the "dudes" who were just not very bright themselves. And like Thelma and Louise, they rise above all the obstacles in their way. Think of this film as celebration of spiritedness and going for your dreams, well, even if it's a cowabunga barbecue! Favorite line: "MMMMM I love pancakes!"