Bratz: The Movie
Bratz: The Movie is a film about being yourself, which is a contradiction as the toys are polar opposites to the extreme. Combined with the fact the film is chock full of racist stereotypes, pedophilia, and glorification of expensive Sweet Sixteen parties, and you got a film that could get the creators thrown in Guantanamo Bay for crimes against humanity. It is nothing that good ole fashioned terrorism repackaged for the MTV generation and thousands of tweenage girls. Not terrorism that kills, but terrorism that leaves deep psychological scars, the kind that will never heal. Osama wishes he could put out films that hurt like this.
The basic plot is that the high school the Bratz go to is controlled by an ultra-evil girl who keeps everyone divided into cliques. The Bratz span cliques as they are multi-racial and interest girls designed by a soulless mega-corporation with only their passion for fashion to bind them together. The fight to stay friends when torn apart by their other interests is the soul of the piece, and speaks a message of accepting other groups and not staying in your little social circle. This spirit of expressing yourself and individuality and acceptance is completely at odds with the toys, which are practically identical giant-headed clones. Their giant eyes, lips with more silicone than breasts in a porno movie, and ever-bare midriffs make them look like they are some crazed duplication experiment, with only skin and hair hues keeping them apart. That is not diversity and expressing your differences, that is following a trend to the point of marching straight off a bridge. And that’s just where Bratz dolls should be thrown.
Bratz are a toy, but they are also an attitude. An attitude that fashion is more important than anything. That thongs are standard fare for girls of single digit ages. That everyone should have big heads, giant lips, long eyelashes, smaller-than-pixies bodies, and a passion for fashion that exceeds all other skills and desires. To consume. To be superficial. Not what anyone sane should be teaching their kids.
So with the condemnations of the dolls I’ve laid out here and in the previous Bratz encounter, you’d think this film would be the most hated film of all time. Oddly enough, parts of this film weren’t the worst thing that ever existed. There’s a few flecks of gold in the acres of manure. Not much, but they were like beacons in the darkness, guiding us a save path to a swift exit to the film. Only God himself could have braved the evil that are Bratz to implant something good for the good people of the world to get hope from. But aside from those points, the film is as terrible as the trailer makes it out to be. The basic premise is the Bratz go to high school, which is ruled by an ultra-bitch who demands everyone sit with their clique. The Bratz have diverse interests, which ends in them becoming members of their respective cliques instead of staying friends. But we all know girl power and passion for fashion will save the day at the end. Oops, I just spoiled the movie! Not like anyone reading this on this site will care, for we’re not here to discuss the film in a rational manner, but to tear it apart in the only way we know how. Why? Because they made it. We have a passion for crap.
Vampire Vixens from Venus
Vampire Vixens from Venus (not to be confused with Vampire Vixens is the story about seductive alien women who come to Earth to steal brain juices from excited men. After running across it in a random movie rental nine years ago in college, I had been searching for it for years, and thanks to some luck I ran across a copy. Most memorable after all that time was the CGI was literally the worst I had ever seen in a film and may have been one of the first movies with a CGI character. The alien women have their alternate alien modes, which gives us a few instances of alien monsters killing men as well. Topping all of that is the movie’s bumbling cop hero character, who just happens to be British for no real good reason! It all adds up to a bizarre ride for what is essentially a skin flick, but is memorable enough due to the factors that make it so weird.
The film has some crude humor, but for the most part is just silly and doesn’t seem to take itself too seriously, which is a boon for these sci-fi sex movies. Some of the jokes are groan-inducing, while random silly things such as a guy in the town always dressed like Elvis are just fun (especially since the Elvis guy looks like an 80-pound weakling.) The creature effects here appear to have the same general style as other Ted A. Bohus films such as Metamorphosis: The Alien Factor or Nightbeast, but I haven’t seen any of them so I can’t compare further.