"Barb Wire" is unlikley to spark heated intellectual debate at film schools anytime soon.
The uncreative state of American film criticism is evident in the numerous reviews of this film (and the accompanying profiles of the fleshy Pamela Anderson Lee): All start out along the lines of, "Pamela Anderson Lee is thinking about her two biggest assets...." The writer then goes on to cleverly fool us, revealing that her two biggest assets are her nails or her kneecaps.
Well, if nothing else, "Barb Wire" doesn't try to fool. Its opening sequence knows full well what Pamela Lee's two biggest assets are -- those half-grapefruit, silicon-implanted protrusions jiggling around on her chest. To inflate the nature of her fame, the filmmakers cram her into a dress two sizes too small so that as she dances to heavy metal music in the opening scene, her nipples fly out of her garment like pop-up thermometers on an overcooked turkey.
The movie itself is a low-grade action film based on a comic book. Barb is a bounty hunter/bar owner who slinks around in sexy outfits and won't commit to anyone or anything. However, when a man (Temuera Morrison) from her past shows up and asks her to help out the resistance (duh, in opposition to the government?), Barb is forced into a corner.
The movie begs an argument between those who see it as exploiting the male weakness for large breasts and those who see it as advancing a strong feminine character. However, as it's comprised almost entirely of Schwarzeneggerian one-liners spoken by a woman with all the personality of a cheap kitchen appliance, "Barb Wire" is unlikley to spark heated intellectual debate at film schools anytime soon.
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