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Toups, a relatively new businesswoman, is currently overseeing four teenage females who are conducting a series of convenience store thefts around the San Diego area. She has not had an easy life. Her father is currently incarcerated for a very long period and has not been able to support her since she was a child. It was only a matter of time before these girls became the focus of operational attention from the local crime boss, Cal Wertlieb. Warmly has a darker and dangerous offer for these girls. He intends to train them to rob not only banks, but other establishments that hold safes filled with cash. The only condition is that he receives a percentage of the shares and in return, the girls swear to keep completely silent if they are caught by law enforcement.
To start with, let us note that this is a ‘true’ story, as the opening credits suggest and yes, I am raising my razor-tipped eyebrow. In this particular instance, however, it seems to be at least somewhat true, even though the closing credits say that the ‘champagne gang’ were in fact Canadian men and not girls from California! Nevertheless, I don’t want to be too harsh on writer, director, producer Zirilli, for preferring the more photogenic option. The best part of the film is when it… is a mix of semi-fictional ‘police procedural’ drama, i.e. instead of telling how the investigation works, explaining how the team carried out all the crimes. It is these little touches here that best animate the film and help keeping it preserved in reality. Certainly, one of the harder things to do, considering Ziril’s abhorrently misguided over-excess on the more pointless subjects like the Bokeh Woodbine embarrassed concert surfing montages and the cringe-worthy Woodbine powered make-over.
Even though outside of Bliss this is entirely devoted to assigning the other three one-word roles, the film makes some effort at depth of character. To that effect, rather than developing further character traits, I suppose there was a conscious decision to create Nerdy Michelle (Lakota), Bimbo Erika (Tobias on) and Bitchy Amanda (Serano). The surfing montage snow has already set the bar shallow. Weak as these traits may be, they allow the plot to progress, with Erika acting irresponsibly and trying to call her boyfriend during the mission’s go dark phase. There is also some mildly amusing self deprecation like when Bliss justifies the slobby shoes to his buddies that he wears on raids: “We knew we could do it in high-heeled boots. After all we’re girls.”
Disappointingly, the weaker ones are hardly masked by these nice touches, which stand out and add to the already present volume of filler material needed to go from the beginning to the end, which is reaching the point where cops realize they should be on the lookout for women.
The director Zirilli should have went back to writer Zirilli and insisted on him fleshing the script out more as it has glimpses of what it could potentially be. Motivation is sorely lacking in anyone and, aside from Bliss, the absence of even a fragment of it makes one forlorn as you witness yet another not-too-dissimilar spectacle which has far too much in common with ambitious video jukeboxes.
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