As a lesbian inmate who aids in the escape plan, she positively crackles. A movie was a movie, and I intended to deliver an A performance, no matter what anybody else did.” And, shockingly, she did. Grier, in her wonderful autobiography, “ Foxy,” said of the film, “I had no concept of categories like A, B, or C movies. Both films also show a complete disregard for the actual tenants of feminism or feminist theory but seem to embody them anyway, as if through osmosis (or some kind of tribal incantation). Like “Machete Kills,” “The Big Doll House” isn’t interested in depicting real life as much as it’s interested in depicting how other movies depict real life (it’s this twice-removed quality that gives both films some of their perverse kick). (She also has a strap on that’s a reference to the crotch gun worn by Tom Savini in Rodriguez’s “ From Dusk Till Dawn.”) This entire section of the movie is an elongated reference to the “women in prison” subgenre best exemplified by the one that started it all-1971’s classic “ The Big Doll House.” The movie, directed by Jack Hill, stars Pam Grier and Judy Brown as female prisoners who rise up against their oppressors, which include brutal female guards. Madame Desdemona likes domination, whipping a client until she kills him, and wearing a bra that shoots bullets out of gun turrets that resemble nipples.

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