I think a great many viewers missed entirely the fact that this is obviously a parody of western films.
This is not a bad movie - it is a clever tongue in cheek take on westerns. I don't believe this film was taking itself seriously for a moment.
What makes this film even more unique is the fact it is centered around 4 strong, beautiful women, two of which are black, one Asian, and a Mexican/Hispanic character.
These aren't your usual western women--they're tough--they can draw fast and shoot straight.
They're so tough even the bartender is shaking when he pours their whiskey.
The plot which moves this story along is typical of westerns--in the vein of "you shot my brother--so I'm gonna get you!" Only in this western, a woman's sister has been shot and she's out for vengeance on the gang who did it.
So she goes and rounds up her old cronies from her bank robbing days.
One of them, Maria, is not really all that interested in avenging Rachel's sister, but she is motived by the fact there's gold and jewelry hidden in the town where they're headed.
There are a couple of scenes that don't quite make sense, not that they interfere that much, they can be ignored, but I wondered why they were there. So the film could use a little tightening, but over all, this is a well made film that has failed to find an audience that recognized what it is.
My only disappointment was that the only lesbian in the film is a villain--of the "heroines", one is obviously straight, the others sexual orientations are never disclosed.
7 Stars

The London Underground has something inherently creepy about it, with its long winding tunnels, the escalators taking you deeper and deeper underground, and of course the rats roaming the tracks.It a source of wonder that it is not used in horror films more often. It was used in the seventies horror Deathline aka Raw Meat, featuring a cannibalistic tribe living in a disused tunnel, and the celebrated chase sequence in American Werewolf in London. So I was pleased to see that someone else had tried to capitalise on the atmosphere of the tube at night with the recent UK production Creep.
I thought the film started off well, with a highly effective credit sequence that was genuinely unnerving, followed by a scene in the sewers that sets up the premise of there being something evil lurking below the streets of London. However, Creep went downhill from here, and I found myself wishing that I'd switched it off after this opening scene, leaving me with a favourable impression of the film. All the characters become unsympathetic and unlikable, even Potente herself, and the director felt the need to hit us over the head with social commentary about homelessness. he also made the mistake of showing the "monster" in full lighting, where he ceases to become remotely scary, and reveals his name to be Craig. How can you have a monster called Craig? It turns into an X Files-type thing, and reminds one of the episode Tombs. In fact, I was wishing Mulder and Scully would turn up and sort them all out for me.
As for the infamous sexualised violence, it is very graphic, disturbing and totally unnecessary. It seems to be there merely to shock the audience rather than for any intrinsic plot value. The trouble is it is so over the top and horrific that it actually numbs you to the rest of the horror, which is a mistake as it's only halfway through the film.
So there you go. The only redeeming feature of the film for me was a rare appearance from Ken Campbell, one of my favourite occasional actors. You don't see him very often, but when he's on screen he acts everyone else into a corner. Casting him as a sewer inspector was a stroke of genius, unfortunately the only one evident in the film.