During the height of the coronavirus pandemic, movie nights with friends took on a new format. Instead of gathering in person, we held these social events online. The virtual setting kept our traditional rules for selecting films intact: opt for enjoyment, avoid boredom.
This new approach enhanced our interactions during film screenings. We maintained our habit of expressing our reactions—groaning, laughing, and shouting. Not being together physically, however, changed our conversations significantly. While watching the Patrick Swayze film “Road House,” a deeper discussion arose. We pondered why movies that tread the line between bad and sublime captivate us. What does it mean to be entertained?
As a writer focusing on pop culture for The New York Times, I often delve into the cultural impact of imperfect films. My editor jokes that I approach lowbrow entertainment with a highbrow analysis. I enjoy examining the journeys of projects and individuals that defy conventional success metrics.
The ‘Good-Bad’ movie series showcases films like “Grease 2,” “Batman & Robin,” “Practical Magic,” and “Volcano.” These titles provide a means to explore what forms the essence of entertainment. Critically acclaimed films challenge and engage but are revisited less often than their flawed counterparts.