Summary
Overview
A Sunday Daily episode exploring the phenomenon of 'good bad movies' - films that are objectively flawed yet deeply beloved and rewatchable. Times culture writers Maya Salam, Gilbert Cruz, and Taffy Brodesser-Akner debate what makes movies like Volcano, Hackers, and Face/Off so enjoyable despite their obvious shortcomings, examining the role of nostalgia, vibes, and pure entertainment value in our relationship with cinema.
Introducing the Good Bad Movie Concept
The episode begins by discussing the release of Practical Magic 2 and how it sparked conversations about 'good bad movies' - films that aren't critically acclaimed but are deeply loved. Maya Salam, who has been writing a column on this topic for The Times, explains that these movies have over-the-top elements and absurd qualities that loop back into being virtues, making them infinitely rewatchable despite not being 'great cinema.'
- Good bad movies have at least one completely over-the-top or absurd element but remain highly watchable and rewatchable
- These films have infectious, beloved qualities that people return to again and again, often with strong feelings and memories attached
- When asked about favorite good bad movies, people can't stop talking about them and have passionate opinions
" It makes me feel like I'm procrastinating in a really productive way. "
" I don't care where a movie went to school. I care that it made me feel something and that it's memorable and that it sort of changes my metabolism and that it locks me in. "
Defining Good Bad: The Volcano Case Study
Maya uses 1997's Volcano as an example of a good bad movie, starring Tommy Lee Jones trying to save Los Angeles from an erupting volcano. The film exemplifies the genre with its highly unrealistic elements - the main cast barely breaks a sweat while hanging feet above lava flows as extras explode around them. What makes it 'bad' is its cringe-worthy attempt to incorporate racial tension metaphors and Rodney King references unnecessarily into the disaster plot.
- Volcano features Tommy Lee Jones and Anne Heche staying pristine while closest to danger, as supporting characters catch fire and melt
- The film awkwardly tries to make the volcano a metaphor for racial tension in 1990s LA, including references to Rodney King
- A child at the end realizes everyone covered in ash looks the same color - an extremely cringy moment not necessary to the plot
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