Lilyhammer Netflixis arguably the most service currently available. True, remain in the running, each with their own advantage, but Netflix generally has a very good selection of films. Plus, the streaming service has a number of very popular original series that are produced in-house.Unfortunately for Netflix, one of its major content disadvantages does have to do with its TV selection — specifically if you’re looking for a Godfather-like series featuring the best of gangster and mob-based entertainment.Two of the all-time best crime and mobster TV shows, The Wire and The Sopranos, aren’t currently available on Netflix, as they were snatched up by Amazon. That being said, Netflix does have some other high-quality television that can help satisfy your itch for threats, guns, and Italian cliches.
Here are some of the best ones. Peaky BlindersA BBC production, follows the ambitious head of a gang in the early 1900s as he pushes for power in a city ripe for criminal enterprise. Tommy Shelby, played by Cillian Murphy ( 28 Days Later), is the young leader of the family-based mob, and he’s ready to take Birmingham by storm. The Black DonnellysAnother family crime drama, The Black Donnellys focuses more on modern day life as it follows a group of Irish New York brothers who struggle to work together and deal with the many utter disasters they manage to get themselves into.The protagonist, Tommy, tries to stay straight in the midst of a fledgling crime family.
When his brothers get into some trouble, landing one of them in the hospital, the family quickly solidifies into a gang with influence. As family loyalties run deep, Tommy is forced to escalate into violence to keep his brothers safe. Sons of Anarchywas one of the more popular shows on TV for a while, so there’s no better time to start watching — unless online spoilers have already ruined it for you. The show is a combination of good writing, strong actors, and motorcycle gang intrigue dosed with family drama that appeals to many different audiences. It’s a show about survival, internal politics, and gray areas, but more than anything it’s a show about how cool Charlie Hunnam looks when he punches people in the face.
These five gangster TV shows will have you wearing caps and hiding horse heads in beds all over town. The 5 Best Gangster TV Shows You Can Find. Netflix does have some other high. If you like 'Crows Zero' you are looking for exciting, suspenseful and semi serious movies about / with gang war, gang, high school, rivalry, crime, youth and crimes themes of Action and Thriller genre shot in Japan.
Hint: he looks pretty cool. Better Call SaulCritics agree that isn’t Breaking Bad, but that doesn’t prevent it from standing on its own two feet as an impressive and well-crafted piece of writing. The show has made its way onto the Netflix queue, opening the door to many hours of character exploration as viewers learn just how Saul began the downward slope that ended with him as the crooked criminal defense attorney we came to know and love in Breaking Bad.“, Better Call Saul has a mordant wit: it’s full of quotable put-downs and promising themes about the fuzzy line between legal and illegal skills,” writes The New Yorker’s Emily Nussbaum. LilyhammerThis Netflix original series tells us what happens if you put a New York gangster in the middle of Norway. After Frank Tagliano — played by Steven Van Zandt ( Sopranos) — rats out a major crime boss, he’s relocated to Lillehammer, Norway, where he quickly discovers he’s out of his element.
That doesn’t stop him from wreaking havoc and bringing back some of his old habits however, despite the best intentions of those keeping an eye on him.Though not as well reviewed as Better Call Saul, Lilyhammer still scored an on Rotten Tomatoes. Ellen Gray from the Philadelphia Daily News perhaps said it best when she said, “ is worth signing up for Netflix to see, but if you’re already paying for it and you like Van Zandt — and Norwegian knits — it’s certainly worth a look.”Check out on Facebook!
This week, Sofia Coppola’s “ ” a group of young people, mostly female, who break into the homes of the rich and famous to steal their stuff, mostly for kicks. But as times changed, so did the movies.
While exploitation thrived underground, back upstairs in the mainstream, the concept began to make itself felt to the point that today, from cliquish high-schoolers to career criminals, the bad girl gang has countless cinematic examples. We’ve drawn up a list of 20, from films that vary wildly in quality — but of course “bad” is a relative term. In fact across all these films and “The Bling Ring” too, what marks these females apart is not so much that they are evil (in many cases in fact they’re totally justified in their actions) but that they derive their moral compass not from society in general but from their internal group dynamic. In other words, they do what they do, and screw everyone else — an attitude we might not like, but can’t help but sneakingly admire. “ Spring Breakers” (2013)Harmony Korine’s hypnotic, neon-glowing pop odyssey is the next generation of bad girl, with the eponymous foursome deciding to hell with morality, and strapping on some weapons to turn this into the most lawless vacation in the world. Most wrote Korine’s film off as mindless cheesecake missing the idea that these girls were operating almost entirely of their own agency, even as regards to sex (as much as they talk about sexual liberation, they never actually have intercourse until the end of the film). Korine finds his trademark delicately indelicate way of establishing these girls’ relationships to each other, to their peers and ultimately to hip-hop, which they come to as though blinded by the grille of James Franco’s Alien.
Eventually they graduate from pedestrian street crime to knocking off a drug lord, always playing with and often subverting notions of victimhood and power, ultimately creating a sociologically queasy reading of the indulgence and hedonism of modern spring break. But the point is made, clearly and succinctly, that Korine’s fierce foursome hold all the cards, never victims, and not saps, in spite of their materialist self-interest. “ The Craft” (1996)In its way, “ The Craft” is as emblematic of the ’90s as any of the more famous movies from the period, in no small part down to the presence of stalwarts of the teen genre like Neve Campbell, Skeet Ulrich, Robin Tunney and Breckin Meyer. The plot is ripped straight from the pages of Teen-Drama 101: Troubled new girl Sarah (Tunney) has just moved to Los Angeles with her father and stepmother. She forms a friendship with a group of girls: Bonnie (Campbell), Nancy ( Fairuza Balk) and Rochelle ( Rachel True). At the same time, Sarah becomes attracted to the popular Chris (Ulrich).
The twist — tapping directly into the brief trend for witchcraft and all things gothic that went on around at the time — is that the girl gang are actually witches and Sarah has secret supernatural powers which the girls believe will complete their coven and make them all-powerful. Unlike other more knowing teen movies like “ Clueless” and “ Heathers,” “The Craft” does suffer from taking itself a bit too seriously, a condition which afflicts many teenagers, especially perhaps the kind of dilettante goths the film was vigorously trying to attract.
The soundtrack is great though, and amidst all the doe-eyed mooning from the likes of Tunney and Campbell (who became the ’90s starlet du jour on the back of this) is a pretty stonking turn from Fairuza Balk, breaking away from her child-star roots with a smoky and poisonous little performance. Silly, it may be, and with some ropey special-effects, but you better believe there were gangs of pale, dark-eyed girls all over the country earnestly performing love spells in their bedrooms after they saw this movie. C+/B-“ Thelma & Louise” (1991)Beyond the hilarity of seeing Chief Wiggum and Homer celebrate an “old fashioned car chase” by listening to “Sunshine Lollipops and Rainbows,” the classic Simpsons episode “ Marge on the Lam” was proof that Ridley Scott’s feminist take on the outlaws on the run genre had quickly seeped into our pop culture consciousness, and its place there is deserved. Geena Davis and Susan Sarandon play the titular characters who go on the run after killing an asshole rapist, and from there the life of crime becomes a freeing, empowering statement for the pair as they fight against the male-dominated world that holds them back.
The message may be broad and a little on the nose, but Scott’s direction, along with excellent performances from the leads (not to mention the ace supporting cast, and Brad Pitt’s career-changing cameo), cohere to make for one satisfying, tragic but oddly uplifting film. Nowadays, “ Thelma & Louise” is yet another stark example of Scott’s more interesting early career, one which we’re afraid he’s left behind for bigger budgets and dumber scripts. “Mean Girls” (2004)Harken back to 2003. It was a time when Rachel McAdams was known as the girl in that Rob Schneider body-switching movie “ The Hot Chick,” “fetch” was not going to take off, and Lindsay Lohan was a Hollywood starlet on the rise, known for her Disney family-friendly films and stealing Aaron Carter from Hilary Duff (very shocking stuff!). In 2004, “ Mean Girls” cemented Lohan as a force to be reckoned with, launched Amanda Seyfried’s career and went on to become a fun footnote when Rachel McAdams found real fame in “ The Notebook.” Emblematic of a generation marked by cliquishness and well, mean girls, the Plastics ruled the school, being an updated A-squad – bitchier than the Pink Ladies without the comeuppance the Heathers got. The original Plastics (pre-Cady) consist of Karen Smith (Seyfried), whose breasts can forecast the current weather; Gretchen Weiners ( Lacey Chabert), whose “hair is so big, it’s full of secrets”; and Queen Bee Regina George (McAdams), or as Janis Ian ( Lizzy Caplan) puts it, “evil takes human form.” Funnily enough, Lindsay Lohan turned down the role of Regina in favor of Cady, as she was worried that it was just mean enough to damage her career. As a girl gang, the Plastics tick off most of the checklist (exclusive, hot, mean) and even have a Burn Book that is in line with their general personas and what we all remember from high school (although your popular clique probably wasn’t as bitingly funny).
“ Bridesmaids” (2011)Oh, what a relief it was that this film was not in fact “ The Hangover“-with-girls high concept the marketing team had us believe before it came out. Nobody really wanted that, did they?
Thankfully screenwriter/star Kristen Wiig had plenty more on her mind with this very funny, very thoughtful look at female relationships. Even though the titular wedding party sees their wild Vegas bachelorette excursion cut short — happening in a plane sequence that’s almost experimental for its epic run time and desire to subvert expectations — they’re still a gang of ladies well worth watching as they awkwardly meet each other, shit themselves and even belt out ballads by the film’s end. Melissa McCarthy has the funny, showy role, for which she received a deserved Oscar nomination, but it’s really Wiig who stands out in a sympathetic yet complex part in which we root for her character to figure it all out even as we watch her do horrible, selfish and stupid things. It’s not that dissimilar from when “ Sex and the City” went dark and showed Carrie doing really bad things (i.e. Cheating with Big when he was married), and it’s just as effective and honest a portrait, perhaps even deeper, as Wiig just can’t seem to get her life in order while her best friend is worryingly moving on to bigger and better things. It’s as funny and moving as anything from the Apatow brand of dude-centric chuckles, and all the more memorable to covering territory that, to this point anyway, hadn’t been so thoroughly mined. B+“ Faster, Pussycat!
Kill!” (1965)“I haven’t seen four women like this together outside of a Russ Meyer film,” Jerry opined in the episode of “ Seinfeld” where Elaine tries to rat out the owner of their favorite coffee shop for only hiring big-breasted women. Anyone who’s seen this most famous of Meyer’s campy sexploitation romps, in which three women shaped like real-life versions of Jessica Rabbit go on a kill crazy rampage of sorts, knows that reference is not an exaggeration. They’re strippers by day, earning cash from a bunch of ogling buffoons and then take off on a desert road trip, each in their own badass muscle car, taking another scantily clad young woman hostage after inexplicably killing her boyfriend. It’s all very silly, but ultimately fun in a goofy, naive sorta way, never even coming close to feeling as awful as it should, given the movie’s content. So yeah, Meyer, a former Playboy centerfold photographer, was just a tad pervy, clearly obsessed with breasts, but ‘Faster Pussycat’ mostly works because the women, while objectified and framed in a comical, comic book style, are always in charge, able to kick ass and defend themselves while plotting a way to rob an old sexist pig in a wheelchair.
Ladies and gentleman, welcome to violence! “ Heathers” (1988)Well, fuck me gently with a chainsaw! While bad girl gangs have been a longtime pop cultural fascination, the Heathers Chandler, McNamara, and Duke of “ Heathers” were the ones who cemented the myth of the cold, beautiful, and remorseless high school clique in the post-modern cinematic imagination, begetting “ Mean Girls,” “ Clueless,” “ The Craft,” “ Sugar and Spice,” and maybe even laying ground for “ Spring Breakers.” But it wasn’t just the iconography, it’s the language too that makes the film so timeless. The bitingly funny black comedy written by Daniel Waters and directed by Michael Lehman is infinitely quotable, original and devastatingly funny — setting off a host of imitators that have never quite reached these heights. In this cynical rendering of high school life, Waters and Lehman allow that the Heathers are bitchy, scheming and materialistic, but they’re also the smartest people in the room, using their powers for their own Machiavellian manipulations. Winona Ryder‘s Veronica is the perfect foil to the Heathers, and as both the voice of reason and chaos, when she and her nihilistic and violent boyfriend J.D.
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(an unhinged Christian Slater) get involved in the accidental death of Head Bitch Heather Chandler ( Kim Walker), setting off a suicide trend among the high schoolers who worship and fear the Heathers. And of course, “Heathers” started the career of Ultimate Bad Girl (the gold standard, really) Shannen Doherty, whose initially self-doubting Heather Duke steps up to reign supreme. “Heathers” goes where other bad girls only dream to.
A“ Switchblade Sisters” (1975)You either buy into this movie and its goofy dystopian, gang-ridden universe early on, as Medusa’s bellowing the (pretty awesome) “Black Hearted Woman,” or you’ll just think it’s dumb and kinda gross. There is no wrong response to Jack Hill’s exploitation pic, about a gang of high school girls first known as the Dagger Debs, the female offshoot of the Silver Daggers, who essentially run the high school but eventually take out their male counterparts and form a new crew called the Jezebels. Quentin Tarantino loved the film so much he put it out on DVD through his long-defunct Rolling Thunder Pictures label, and you can watch him nerd out embarrassingly on the commentary and bonus features where he recites the film’s quite funny dialogue in front of a horrible green screen.
“Switchblade Sisters” is a great entry point into ’70s-era exploitation pictures — Hill was basically the Spielberg of these kind of movies — featuring all manner of activities that are anything but politically correct. There’s off putting, mean-spirited humor towards a heavier woman in the gang (known as Donut, ahem) and at times nasty violence, yet for the most part it’s actually funny and enjoyable.
That is, if you get on its particular wavelength. “ Bad Girls” (1994)A revisionist take on the Western myth told from the traditionally marginalized point of view of prostitutes? And yet “ Bad Girls” — no, thanks. The pulchritudinous foursome of Madeleine Stowe, Drew Barrymore, Andie McDowell and Mary Stuart Masterson play whores run out of town after Stowe’s character is rescued by the others from an impromptu hanging. But when they head into the wilderness with a price on their heads as the world’s prettiest outlaw gang en route to a New Life, they cross paths with a real gang (of robbers, murderers and rapists) who variously steal from them, taunt them, kidnap them and rape them. But despite the wild Peckinpah-style drama this might promise, the film is somehow so genteel and soft-focus, the plotting so on-the-beat predictable and the characters so one-note that nothing really snags our attention until an ill-choreographed shootout finale.
The lack of depth lent any of the characters is a terrible missed opportunity. There’s The Reformed Bad Girl Leader (Stowe), The Possibly Gay One But We Don’t Dwell On That (Barrymore), The One Who Misses Her Dead Husband (Masterson) and The One Who Wants A Husband (MacDowell), and they’re all so goddamn nice, so unjustly accused, so not-to-blame for their “fallen” circumstances, that it’s hard to find a shred of agency in any of them. So while at the outset it might have seemed like it would have some sort of feminist agenda, in fact the only thing that “Bad Girls” does well is showcase the leads in a variety of sexy outfits and fetchingly disheveled hairdos. Without any sense of struggle or strength or intelligence on the part of these women, it’s actually kind of an insult, and the trappings do scant justice to the richness of the Western canon either. Frankly, it’s hard to look at this film as anything other than a larky game of dress-up for some very attractive females that sells out an interesting premise almost as soon as it sets it up. Oh, and Dermot Mulroney. D+“ Sin City” (2005)Granted the world of Frank Miller’s graphic novel and Robert Rodriguez’s visually groundbreaking genre film isn’t exclusively about bad girls, but we obviously do have some outliers in this bunch and we want the fierce, bad-ass ladies here represented.
Weaving in several stories from the various “ Sin City” comics, one of the tales revolves around the narrative “ The Big Fat Kill,” which focuses on a street war between a group of prostitutes and a group of mercenaries, the police, and the mob. Centering on a love triangle between Shellie ( Brittany Murphy), her current boyfriend (played by Clive Owen) and her abusive ex-boyfriend Jackie Boy ( Benicio Del Toro), this combustible dynamic spills over into Old Town where Jackie Boy makes the mistake of harassing Alexis Bledel, a young prostitute who is a member of a group of lethal, leather-bound prostitutes that includes Rosario Dawson and Devon Aoki.
Jackie Boy’s death at the hands of the girls (a scene directed by Quentin Tarantino) unveils he’s actually a cop and a huge blood war erupts. There’s not really a weak section in “Sin City,” and certainly with this motley crew of actors (including Michael Clarke Duncan), “The Big Fat Kill” is certainly one of the sexier and dynamic sections overall. “ Set It Off” (1996)In the wake of so many crime movies set in tough ghettos featuring mostly black characters — the pinnacle achieved in 1995 by the Hughes Brothers with “ Dead Presidents” — it was refreshing to see one that focused on women committing the crimes. Featuring a stellar cast, led by Queen Latifah in a role that showed fairly early on what she was capable of in front of the camera, this tale of four female bank robbers is unfortunately too cliche-laden to ever achieve greatness.
Basically, “ Set It Off” has every trope you’ve seen in these kinds of flicks, just with black female actors front and center. While that may be surface-admirable from a diversity point of view, it’s not enough to give the movie a pass. But again, that cast is strong, with very good turns from Jada Pinkett Smith, Vivica A. Fox and Kimberly Elise. Gary Gray’s competent direction in the heist scenes also makes up for a film that ultimately does what it does just fine, but never pushes or upends the genre beyond its initial, headline-grabbing conceit.
As such, it’s a well-intentioned movie that, around its release past the mid-’90s, saw less and less of its ilk being made. C+“ Grease” (1978)Sure, Danny ( John Travolta) and Sandy ( Olivia Newton-John) are the heart of “ Grease,” but Rizzo ( Stockard Channing) is the SOUL of the thing, the pathos, the humor and the sarcastic best friend elbowing you in the ribs with a “get a load of these two.” Rizzo, the leader of the Pink Ladies, really gets at what the pure appeal of the bad girl is. They’re believable, relatable, sexy and fun, and Channing is all of those things as well as cynical and world-weary.
In a post-modern, overtly nostalgic film like “Grease,” in which Hollywood of the late 1970s, rocked by Vietnam, hippies, and social, artistic, and industrial upheaval, attempted to recreate the safe and sanitary bubble of 1950s, Rizzo plays a very important role not only as the feminine foil to the wisp of cotton candy that is Newton-John’s Sandy, but as a self-reflexive acknowledgment of the artificiality of the entire endeavor. During “Summer Nights,” she shrugs and sighs as the girls squee in time over Danny; “Look At Me I’m Sandra Dee” is a direct send up of the Doris Day-style sexuality that was so popular in the 1950s, and “There Are Worse Things I Could Do” is an indictment of the sexuality/morality conundrum that continues to plague a society that doesn’t quite know what to do with a sexy and confident gal like Rizzo. Heady stuff for a film most often viewed at the slumber parties of middle school girls.
And of course, the rest of the Pink Ladies are a treat too, from Frenchy’s ( Didi Conn) “Beauty School Drop Out” dreams to Marty Marashchino’s ( Dinah Manoff) vavavoom cutesiness. What “Grease” gets right is the individuality of each of the girls in the Pink Ladies, using them all to highlight a certain aspect of the story and themes. But without Rizzo, “Grease” wouldn’t be half the classic it is today.
“ Ladies and Gentlemen, The Fabulous Stains” (1982)Occupying a spot on the intersection between bad girl gang and band movie, more recently exemplified pretty well by Kristen Stewart‘s “ The Runaways,” ‘Stains’ centers around Corinne “Third Degree” Burns, played by a very young Diane Lane, and an equally young Marin Kanter and Laura Dern (who sued for emancipation to take the role) who together are The Stains, an all-girl band who make up for their lack of musical skill with attitude. In an effort to get out of their nowhere-nothing town, they talk their way onto a tour with aging glam rockers, The Metal Corpses, and their punk opening band, The Looters (played by Sex Pistols Steve Jones and Paul Cook, Paul Simonon from The Clash, with Ray Winstone as their singer). The Stains inspire girls everywhere, who copy their look and sayings, but their quick rise to fame has an equally quick descent. Despite its punk attitude, the movie has an overall bitter tone to it, with director Lou Adler making fun of everyone in sight, from the dimwitted media and the aging self-obsessed rockers, to the fair-weather audiences and yes-man managers. The film had a limited theatrical run on release, but found fans on late night cable, and the sole remaining print of the film has been kept in circulation.
A cult classic for sure, it found a wider audience via its DVD release in 2008, and remains one of the best all-girl band movies with original tunes to match, unlike most music movies. “ Ladies and Gentleman, The Fabulous Stains” has been credited as the missing link between punk rock and riot grrrl, but one thing’s for sure: its hard to not to be inspired by Burns. “ Death Proof” (2007)Quentin Tarantino’s half of the “ Grindhouse” double-bill itself plays out in two parts, the second so infinitely superior to the first that it almost feels like a comment on all the ways the first gets it wrong. Sleazy Stuntman Mike (a reptilian Kurt Russell) gets off on using his phallic stunt car to surprise, stun, and demolish beautiful women in the cold night air, escaping with wolfish glee. Little does he know, however, that he’s about to crash right into a group of beautiful daredevils fresh off a film shoot, headed by a stuntwoman ( Zoe Bell) who doesn’t know when too fast is too fast. Tarantino’s breakneck road movie lulls you with quiet dialogue scenes and moments of meta-irony as it evolves from disreputable, misogynist genre fare into more modern, corrective retribution, with the trio (Bell, Rosario Dawson, Tracie Thoms) taking Stuntman Mike from behind, delivering a dismantling that calls to mind the history of exploitation films, with cold hard men and the beautiful women who serve as their listless prey. But while the second part of the the film is definitely worthy of rehabilitation and would on its own merit a high grade, most of us (except Gabe perhaps) can’t find it in our hearts to forgive the awfulness of the first hour or so, and thus, the rating is dragged down to a mediocre B-/C+.“ Sucker Punch” (2011)How much do we hate this “original” Zack Snyder joint?
Let us count the ways: 1. My God, stop with the excessive slow motion already!2. Some awful “Where is My Mind” cover while a character is brought to an insane asylum, are you fucking kidding me?3. Speed ramping, noooooo!4. Ugly, garish and flat visuals that never look good. Sure, you may think it looks cool, but you’d be wrong.5. Why is Carla Gugino doing a Russian accent?6.
Its silly, convoluted fantasy structure is boring, because there’s nothing at stake, so why should we give a shit what happens? Too late, we don’t.7. No matter how many passionate defenses of the movie we come across (they are out there, believe it or not), we’ve never been convinced it’s anything other than an unintentionally hilarious, hackneyed vision of geek director indulgence. For better or worse (definitely worse), this is what unfiltered Snyder looks and sounds like.8. Awkward, laughable transitions from “reality” to “fantasy” are as smooth as sandpaper.9. Ludicrous script.10.
It has the gall to think it’s a smart, feminist take on geek culture/tropes, but it fails miserably on almost every count, taking everything potentially empowering about the concept of the girl gang and putting it in service of a stupid man-child-geek fantasy. D-“ She-Devils on Wheels” (1968)That the tagline for this late-’60s sexploitation flick is “See! Female Hellcats Ruling Their Men With Tire-Irons As Their Instruments Of Passion!” should maybe tell you all you need to know about the film. But there is quite some camp (maybe stoned-off-your-face) pleasure to be found now in the terrible acting and laughable plotting of this rival-bike-gang movie.
And even with all its hokey creakiness (at times it’s hard to hear the dialogue over the ambient wind or motorbike engines — possibly a good thing for fans of people-talking-like-human-beings) there is still more genuine subversion here than in probably the rest of the list put together, with the titular She-Devils (actually a gang called the Man-Eaters) not just proving their superiority to their male counterparts in racing terms, but also during the bewildering orgy-style antics that go on afterward. And the moral, when one of them has to choose between a potential male lover and the spiky embrace of her girl gang, and goes for the latter, is actually surprisingly warm and progressive, setting it possibly above slicker, more recent fare than “ Sucker Punch” for example. Still, approach, if at all, with irony gland fully functional. There are a good few we know of that we’ve missed, notably Angelina Jolie vehicle “ Foxfire” in which she forms a bond with other teenage girls after they take revenge on a sexually abusive teacher, and the Allison Anders movie “ Mi Vida Loca” about the evolution of a hispanic girl gang in a poor urban neighborhood. Kristen Stewart‘s recent Joan Jett biopic “ The Runaways” would qualify too, as would 1984 curio “ Desperate Teenage Lovedolls,” which chronicles the rise and fall of an all-girl punk band in a barely-above-home-movie style.
In the exploitation vein, Troma weighed in with “ Chopper Chicks in Zombietown,” which we’re not sure we need more than the title to understand, while nasty Britflick “ Sket” focuses on girl gangs in London and aspires to Noel Clarke-style gritty urban realism but falls short. At the opposite end of the spectrum we find “ D.E.B.S.” which is such high-concept idiocy (a gang of plaid-skirt-wearing hottie schoolgirls including Jordana Brewster are recruited by the CIA) that we can’t believe not one Playlister has seen it, but if they have, they’re not owning up. And documentary “ Don’t Need You: The Herstory of Riot Grrrl” sounds like it might be an interesting factual accompaniment, even if the title kind of makes us want to cry.And there are some films we skipped simply because the bad girl gangs they don’t form a pivotal enough part of the overall story, like “ 13 Going On 30” (in which case the Six Chicks are very similar to the myriad school cliques we have mentioned) and Jimmy Fallon/Queen Latifah vehicle (!) “ Taxi,” which features a gang of Brazilian supermodel bank robbers (led by Gisele Bundchen). Feel free to point out any more, but be warned, we’ve our switchblades tucked in our denims, our sisters’ve got our backs and we’re feeling empowered. — Gabe Toro, Erik McClanahan, Katie Walsh, Drew Taylor, Rodrigo Perez, Sam Chater, Kieran McMahon, Jessica Kiang, Diana DrummSign Up.