Thanks to the talents of the filmmakers involved (especially screenwriter Nicholas Meyer, who would go on to make both Time After Time and Star Trek II: The Wrath of Khan) Invasion of the Bee Girls is a far better movie than any movie called Invasion of the Bee Girls has any right to be.
So much so that there’s a tendency among critics to describe it as a satire in order to justify the fact that they’re recommending a movie called Invasion of the Bee Girls, when the reality is the film mostly plays its exploitative concept completely straight, with few overt attempts at social commentary.
While I admit it is easy to interpret a film in which a group of sexually alluring women are compelled to engage in a mating ritual that causes their male partners to suffer fatal heart attacks as a sly commentary on the then-growing women’s liberation movement, it actually takes quite a bit of mental trickery to justify that interpretation based solely on the movie’s content. Tonally, Bee Girls never feels tongue-in-cheek, and if it were supposed to, then the attempted rape scene in its middle is more than simply gratuitous, but completely inappropriate as well.
The reality is that Invasion of the Bee Girls is simply a very well-executed version of a kind of film that traditionally sucks, which makes it less a commentary on its own subgenre than the standard by which that subgenre should be judged. Plus, it has tons of nudity. —Allan Mott
One emergency landing later, the remaining passengers and crew disembark into a terminal that’s sealed off from the airport. They’re flat-out stuck, which wouldn’t necessarily be bad if the infected weren’t hiding in the shadows, either. The behind-the-scenes luggage area gives newbie director (and 
I find pot humor to be the anthesis of funny when it pops up in comedies, so imagine 83 minutes of it. And I do mean imagine, because you shouldn’t waste your time on Charles Band’s 
When each guy smokes it — only Alistair doesn’t partake — he’s transported to the Club Bong strip club, where the fake-breasted dancers sport carnivorous chests that kill the dudes in real life. (All the movie is set either here — with animated ganja smoke around the edges of the frame — or at their home, which looks like the set of a sitcom threatening to burst into a porno.) Tommy Chong saves the day and runs toy cars up and down said man-made mammaries.
The sequel to 1934’s 
No matter how good your own relationship is, Powell and Loy will still make you jealous of theirs. That’s even more remarkable once the movie reveals just how far their individual sides of the tracks are from each other. The Thin Man hinted at it by showing Nick’s getting reacquainted with old crooks he’d put away, but it really comes into focus in the sequel. As Nick and Nora ride home from the train station, she greets people with big hats and monocles; Nick says “hello” to a pickpocket and the guy who delivers his booze.