Okay, let's dim the lights, imagine that familiar clunk as the tape slides into the VCR, and settle in for a trip back to the dusty trails of the 90s West. Today, we're pulling a slightly weathered, perhaps slightly overlooked tape from the shelf: 1994's Bad Girls. Now, this wasn't your typical testosterone-fueled oater. The promise was electric – four major female stars leading their own Western adventure! It felt like a genuinely fresh idea amidst the genre's resurgence, sparked by hits like Unforgiven and Tombstone. Did it live up to that dusty, sun-baked promise? Well, saddle up.
### Four Stars, One Dusty Trail
The core concept is undeniably appealing. We follow Cody Zamora (Madeleine Stowe, radiating stoic toughness), Anita Crown (Mary Stuart Masterson, the earnest heart of the group), Eileen Spenser (Andie MacDowell, bringing Southern charm), and the young, fiery Lilly Laronette (Drew Barrymore, already showcasing that star spark). When Cody saves Anita from a grim fate involving an abusive client, they find themselves fugitives, eventually joined by Eileen and Lilly. Their initial plan involves retrieving Cody's savings to start a new life, but naturally, things go sideways faster than a spooked horse, involving stolen money, vengeful Pinkerton agents, and Cody's dangerous old flame, Kid Jarrett (James Russo).
On paper, it's a recipe for a rollicking adventure with a feminist twist. The sight of these four women, who were all significant names in the early 90s, riding horses, brandishing guns, and taking charge should have been iconic. Stowe, fresh off The Last of the Mohicans, certainly looked the part as the hardened leader. Masterson brought vulnerability, MacDowell offered a touch of class amidst the chaos (remember her from Groundhog Day just the year before?), and Barrymore provided youthful energy. They were a formidable quartet, and seeing them headline a Western felt genuinely exciting back on the New Releases shelf at Blockbuster.
### A Change of Direction Mid-Stream
However, the journey of Bad Girls to the screen was almost as bumpy as the terrain its characters traversed. Here’s a fascinating bit of behind-the-scenes drama that profoundly impacted the final film: the original director, Tamra Davis (who later directed Barrymore in Guncrazy), envisioned a grittier, more complex feminist Western. But mere weeks into filming, she was controversially fired by the studio, 20th Century Fox, reportedly over creative differences and concerns about the dailies. Veteran director Jonathan Kaplan (The Accused, Unlawful Entry) was brought in to salvage the project.
This kind of mid-production upheaval rarely bodes well, and you can almost feel the seams where different visions might have clashed. Kaplan delivered a more conventional, action-focused picture, perhaps what the studio ultimately wanted, but it often feels tonally inconsistent. Moments of potential character depth sometimes give way to standard shootouts, and the promised exploration of female camaraderie and survival in a man's world feels underdeveloped. It’s like they started baking a complex, multi-layered cake and ended up serving a slightly rushed, albeit occasionally tasty, sheet cake instead.
The film was made for around $20 million but unfortunately didn't recoup its budget domestically, pulling in just over $15 million. Critically, it wasn't treated kindly either, currently holding a rough 9% on Rotten Tomatoes and a 5.1/10 on IMDb. It seemed audiences and critics alike weren't quite sure what to make of this ambitious, yet flawed, Western.
### Style Over Substance?
Despite the troubled production and uneven script, Bad Girls isn't without its moments. The cinematography captures some beautiful Western landscapes (shot partly in picturesque Sonora, California), and the action sequences, particularly the climactic shootout, are competently staged by Kaplan. There's a certain glossy, 90s aesthetic layered onto the traditional Western setting which, while maybe not authentic, has its own specific kind of nostalgic appeal now.
The costumes are memorable, too – perhaps more Hollywood glamour than period accuracy, but they contribute to the film's unique visual identity. Who could forget Stowe's all-black ensemble or Barrymore's slightly more flamboyant outfits? It leans into the "outlaw chic" idea, even if it sometimes feels at odds with the harsh realities the characters are supposed to be facing.
The performances, while hampered by the script, are committed. Stowe carries the lead with determination, and Masterson provides the film's moral compass. MacDowell and Barrymore perhaps have less to work with character-wise, playing more archetypal roles, but their presence adds significant star power and charm. You just wish the script, credited to Ken Friedman, Yolande Turner, and producer Albert S. Ruddy, had given them more substantial material to explore their characters' bonds and motivations.
### Worth a Rewatch on Memory Lane?
Watching Bad Girls today is an interesting experience. It’s undeniably flawed – the pacing drags in places, the plot relies heavily on contrivances, and the potential for a powerful statement about female agency in the West feels largely squandered. It often opts for predictable genre beats when it could have explored something richer and more nuanced.
Yet, there's an undeniable charm to it, particularly for those of us who remember seeing it on VHS. It represents a specific moment in time – a convergence of major female stars attempting something different within a traditionally male genre. It’s a fascinating "what if?" scenario, especially when considering Tamra Davis' original vision. While it may not be a hidden gem or a misunderstood masterpiece, it’s a unique piece of 90s Hollywood filmmaking. It tried something bold, even if it stumbled along the way. Seeing these four actresses share the screen in this context remains a primary draw.
VHS Heaven Rating: 5/10
The rating reflects a film brimming with potential and star power that sadly gets lost somewhere on the trail due to behind-the-scenes turmoil and a script that plays it too safe. It earns points for its ambition, the cast, and some decent action, but loses them for its uneven tone and underdeveloped themes. It’s not exactly good, but it’s certainly not entirely forgettable either.
Bad Girls might ultimately be remembered more for the film it could have been, but for a dose of 90s nostalgia featuring four fantastic actresses giving the Western genre a whirl, it’s still a curious ride worth taking down memory lane, even if you have to squint a bit to see the masterpiece that might have been hidden under all that dust.