Review by Bob Ignizio
Exploitation filmmaker Herschel Gordon
Lewis began his career by asking himself a simple question: “What
kind of motion picture might there be that the major companies either
could not make or would not make?” At the time, which was the 1960s, the answer was to
make films that played up nudity and gore. These days, with Hollywood
largely having taken over the horror business from the independents,
and hardcore pornography having replaced the far more innocent “nudie
cuties” of Lewis' time, the answer to that question would be very
different. One possibility: movies starring and about middle aged
women that deal with their issues. Hollywood sure isn't making many
of those.
Susan
Seidelman (DESPERATELY SEEKING SUSAN,
Sex and the City)
helps fill that void with her latest film THE
HOT FLASHES
which, despite a cast of well known female stars and Seidelman's own
track record, is being distributed by small independent company
Vertical Entertainment. The film had a very limited theatrical run,
but most who discover it will likely do so on DVD/Blu Ray or through
streaming services like Netflix (which is where I came across it).
THE
HOT FLASHES
stars Brooke Shields as Beth, a former star player for her small
Texas town's high school basketball team turned dissatisfied
housewife/mom. Beth learns that a mobile breast cancer screening
truck started by her deceased friend Tess (also a former high school
basketball player) is about to lose its funding. To save the truck,
Beth comes up with an unusual idea for a fund raiser: put together a
team of Tess' former teammates to take on the current girls' high
school team, which just happens to include Beth's daughter Jocelyn
(Charlotte Graham).
At first it appears as though the idea will be stillborn. Even Beth's
own husband Lawrence (Eric Roberts) is dismissive of his wife's
efforts, proclaiming that she'll give up like she always does and
(like all the town's unenlightened menfolk) referring to the
screening truck as “Tess' traveling titty tester”. But Beth
perseveres, eventually assembling her dream team of pothead/biker
Roxie (Camryn Manheim), alleged slut Clementine (Virginia Madsen),
car dealer/closeted lesbian Ginger (Daryl Hannah), and the
predominantly white town's first black mayor Florine (Wanda Sykes).
Now all she needs to do is get her team of middle aged misfits in
shape and convince Coach Slaughter (Carl Palmer), who just so happens
to be one of Clementine's exes, to accept their challenge.
Seidelman's direction is solid and
professional, but the real strength of THE
HOT FLASHES is its cast. These ladies all clearly relish
the chance to play strong, intelligent characters who are the focus
of the story they're in. But if you're expecting any deviation from
the usual underdog sports comedy formula, you'll be sorely
disappointed: Brad Henning's script is strictly by-the-numbers. At
least the various character specific subplots (Beth's marital
problems, whether or not Florine will compromise who she is to get
re-elected, Ginger coming out of the closet, etc.) help give the film
some flavor of its own.
THE HOT FLASHES clearly wants to
convey feminist themes of empowerment and sisterhood, but it winds up
undermining itself thanks to a few glaring missteps. For example, it
takes the stance that it's wrong to judge Clementine for her sexual
exploits, only to turn around and depict the slut shaming of one of
the high school girls as okay because it helps our heroines. And then
there's the weak ultimatum Beth makes to her husband near the end of
the film which makes the character come off a bit too much like a
doormat for a film about women standing up for themselves.
The
older leading ladies in THE HOT FLASHES and
the audiences who want to see them in films probably deserve more
than it gives them. Still, it's at least passably entertaining and
makes an effort to have some substance, and that's better
than the literally nothing they'd have without it. The question is,
does it really have to be that way? 2 1/2 out of 4 stars.
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