Three young women were in a diner one night having a conversation about men, and the difference between faking it and compromising to get by in relationships: Tes (Malin Akerman) thinks the former is the way to go, and Dawn (Deborah Ann Woll) believes it's the latter, so they decide to agree to disagree as time is getting on and they still don't know where their contact is. They have been told by gangster boss Mel (Bruce Willis) to meet them there, but nothing is happening Tes is beginning to get antsy, so they pull out their guns and start demanding answers. Then one of them, Kara (Nikki Reed), is shot dead by the waitress.
There was a time in the nineties when Quentin Tarantino was the name to drop if you wanted to make an indie thriller. This didn't result in a rash of films as good as Reservoir Dogs and Pulp Fiction, unfortunately, it resulted in a bunch of lame rip-offs and wannabes who would have been better to find their own cinematic voice as their idol had, but you could understand why these writers and directors trod that path if it meant they could get something, anything, out there into the world with their names on it for who knew where that might lead? This brings us to 2011, when director Aaron Harvey offered up one of the tardiest Tartantino-influenced efforts yet.
Sadly for him, and for that matter for anyone who had the misfortune of watching it, quite why we needed one of these homages at that point was never made clear by what turned out to be grindingly tedious and derivative from beginning to end. Copying everything Tarantino would have done if he had a fraction of the inspiration, that included business from casting Bruce Willis (in a role he evidently completed in the space of a weekend) to the pop oldies on the soundtrack to most unforgivably the sort of dialogues and monologues which Quentin had made his stock in trade because in his hands it was thanks to making the characters sound as if they had something interesting going on in their heads.
