Any film which toplines a teenage bulimic drug addict prostitute criminal sociopath who when she isn't indulging in scarf'n'barf eating binges habitually robs her johns so she can eke out a sordidly meager existence as its anti-heroine is unarguably pushing the limits of good taste and restraint to the breaking point. Well, this shockingly base and savage exploitation stunner not only graphically depicts various acts of all-out depravity in unsparingly explicit detail, but also wallows in a festering sinkhole of unremittingly foul no-holds-barred cinematic scuzziness with a certain lip-smacking fiendish glee. When underage hooker White Girl (the luscious Natasha Lyonne) meets deranged lesbian sexual psychopath serial killer Cyclona (galvanizing spitfire Maria Celedonio) in a brutal juvenile detention center, it's clear right from the start that they are a match made in bad girl hell. Pretty soon the dangerously nutso twosome escape and go on the lam, embarking on a mondo berserko crime spree as they travel cross country to Tijuana, Mexico, where they believe both sanctuary and possible redemption awaits them in the form of demented pedophile cannibal transvestite kiddie-porn making nun (!) Sister Gomez (an amazingly wacked portrayal by "Buffalo '66" auteur Vincent Gallo).
Powered along by a pair of laudably fearless, anything-goes, let-it-all-hang-out dynamic and uninhibited performances by Lyonne and Celedonio, loaded to the grimy gills with nonstop seedy thrills, strikingly ferocious violence, and carnal perversions of every conceivable stripe, and rounding things off with a gruesomely over-the-top nasty conclusion that's sure to knock the air out of your lungs, this thoroughly warped and electrifying crime/chase/chicks-in-chains sleaze film take on the classic Grimm Brothers fairytale "Hansel and Gretel" will either delight you with its impressively shameless and aggressive assault-on-your-senses agenda or offend you to the ninth degree for the very same reason. Before you ask precisely which side of the fence I'm on with this particular flick, let me state for the record that any picture which features nifty cameos by John Landis as a hard-nosed judge, David Alan Grier as a scummy sex-crazed shyster lawyer, and "Drugstore Cowboy" 's Max Perlich as a slacker drunk, numerous acts of vicious murder, masturbation, full-frontal shower room nudity, projectile puking by the literal gallon, necrophilia, spray paint-huffing, and a funky, rollicking trashy score that's in equal parts digging rap and ripping surf-rock will always get my vote.
Powered along by a pair of laudably fearless, anything-goes, let-it-all-hang-out dynamic and uninhibited performances by Lyonne and Celedonio, loaded to the grimy gills with nonstop seedy thrills, strikingly ferocious violence, and carnal perversions of every conceivable stripe, and rounding things off with a gruesomely over-the-top nasty conclusion that's sure to knock the air out of your lungs, this thoroughly warped and electrifying crime/chase/chicks-in-chains sleaze film take on the classic Grimm Brothers fairytale "Hansel and Gretel" will either delight you with its impressively shameless and aggressive assault-on-your-senses agenda or offend you to the ninth degree for the very same reason. Before you ask precisely which side of the fence I'm on with this particular flick, let me state for the record that any picture which features nifty cameos by John Landis as a hard-nosed judge, David Alan Grier as a scummy sex-crazed shyster lawyer, and "Drugstore Cowboy" 's Max Perlich as a slacker drunk, numerous acts of vicious murder, masturbation, full-frontal shower room nudity, projectile puking by the literal gallon, necrophilia, spray paint-huffing, and a funky, rollicking trashy score that's in equal parts digging rap and ripping surf-rock will always get my vote.