Okay, look, with a title like this, you know what you’re getting: It’s sexploitation comedy horror schlock. And that’s exactly what it is. Small budget, low production values, many bosoms, lots of violence. If it’s not what you want to watch, you won’t want to watch it; there are no surprises here where it transcends its genre to become something more.

The plot is pretty much telegraphed in the title, but let’s talk about it anyway. As we open, a guy’s girlfriend dies gruesomely; fortunately(?) he’s a mad scientist type, so he works on resurrecting her… except he needs body parts, and decides to grab some from local sex workers. This is the part where the movie could have gone the most yikes, and it thankfully goes so ridiculously silly that it’s… well, I was going to say “it’s not offensive,” but I think that overstates it; this is not some hidden progressive manifesto. But it’s not seriously offensive, it’s the kind of broad caricature and absurd cartoon humor and violence that you clearly aren’t supposed to treat seriously, like an R-rated Looney Tunes. I mean, the women explode into styrofoam chunks with fireworks going off rather than having anything gory and realistic happen.

So now the protagonist has his body parts, and he can build his girlfriend back, except whoops, it didn’t work totally well, and she’s got kinda that Frankenstein’s monster thing going on, if Frankenstein’s monster were also a sex worker. Obviously this is where the title comes in, and it’s most notable that you’re almost a full hour into the movie before you get to this part.

From there it gets a little baroque, and there are some interesting twists that happen before the end. I’m not going to comprehensively spoil it, just in case you’re going to watch it yourself.

This movie is surprisingly good, on a purely technical craft basis. Like, it’s clear that it actually has a director who understands the basics of making a movie, who knows how to fit scenes together in a normal baseline competent way, who can cinematically communicate a plot from beginning to end. And even though it’s clearly low-budget, there’s a kind of deliberate aesthetic to its effects, such that even super-cheesy styrofoam props work in context. Like, sure, they’re obviously styrofoam, but the movie tries so little to hide it that it just becomes a thing where laughing at the effects is a willful refusal on your part to enter into the social contract of watching the movie, like complaining that a cartoon doesn’t look realistic.

And I know that sounds really low-bar-to-clear, like writing a game review about how a game isn’t full of game-breaking bugs and rarely crashes to desktop and such-like. But look, this baseline technical competence is super not a given in this context, so it’s worth calling out.

All this adds up to a movie that’s not in any way great, but is also not — in the context of what it aspires to be, and its audience expects it to be — bad. B+ schlock, so normalize that as appropriate to get an appropriate adjusted grade for your tastes.