Though these movies aren’t necessarily controversial, they have garnered quite a reputation among critics and audiences alike. Taste in film is subjective, but it can be hard to argue against the opinions of many viewers who have agreed that these projects aren’t worth remembering. It’s true that there are plenty ofunpopular movies that critics loveand vice versa. However, sometimes it feels as if I’m the only one who enjoys these films.Some have achieved cult classic status in recent years,but there’s still plenty of opposition toward them.
Movies like David Lynch’sDuneare considered so bad that they’ve remained in the cultural conversation because of the negative reception. When a film takes big swings, whether this is in terms of style or storytelling, the results can be polarizing. Even though I’m often the only voice arguing in favor of their quality, this doesn’t mean I can’t see why they might have sparked arguments and dissent. However,even though they’re not perfect movies, it’s impossible for me to forget or stop rewatching these classic films.
The 1984 iteration ofDuneis rarely ranked amongDavid Lynch’s best movies, as the project almost sunk his career before the filmmaker put out some of his best work. Though there are undoubtedly issues withDune, and it’s a sharp contrast to the recent adaptations by Denis Villeneuve that star Timothée Chalamet,there’s something nostalgic and subversive about the 1984 version.Lynch’s creative choices are unorthodox, but I appreciate the risks he’s taking.
Dunehas gotten a lot of hate over the years, but the physical sets and visceral practical effects are refreshing when compared to some of the sci-fi action movies of today.
Additionally, Kyle MacLachlan is just as charming here as he is in every other project he collaborated on with Lynch. Alongside MacLachlan, iconic stars like Patrick Stewart and even Sting are part of the cast, and it’s interesting to see so many great performers outside their comfort zone in the sci-fi genre.Dunehas gotten a lot of hate over the years, but the physical sets and visceral practical effects are refreshing when compared to some of the sci-fi action movies of today.
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With a cast that includes Jane Fonda, Rita Moreno, Sally Field, and Lily Tomlin, there’s so much joy and heartfelt fun in80 For Brady it’s impossible not to have a good time while watching it. Of course, there are objective elements in80 For Bradythat made critics balk at the feel-good film, but sometimes,it’s nice to engage with a movie that’s easy to watch.Even the corny jokes peppered throughout the script make me laugh.
Seeing these iconic stars come together is reason enough to watch80 For Brady,and this is helped by the fact that the message at the heart of the story is enduring and true. There are no unnecessary dramas or convoluted plot elements that make you roll your eyes, only a group of friends enjoying their time together. No matter how old you are,80 For Bradywill tug at the heartstrings while still leaving you with a smile on your face.
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The word campy gets thrown around a lot these days, especially when discussing cult classics likeShowgirls, but this 1995 film fits the bill. With over-the-top performances and scenes that are pretty explicit even by today’s standards,Showgirlscan be pretty shocking the first time audiences see it.There’s one especially violent scene at the end of the film that results in an intense tone shift, and this is the movie’s weakest moment, but I still appreciateShowgirlsfor the moments when the stylization comes through.
It’s not just used in the flashing lights and sparkling costumes but in the exteriors and quiet moments when we get to know Nomi.
Like all thebest movies set in Las Vegas,Showgirlsuses the light and atmosphere of the city to its advantage, as the visuals in the film are one of the strongest elements. Color is an enormous part ofShowgirls. It’s not just used in the flashing lights and sparkling costumes but in the exteriors and quiet moments when we get to know Nomi (Elizabeth Berkley). It’s an incredible time capsule of a cultural microcosm.
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One of Quentin Tarantino’s least-known and worst-received movies,Death Proof, isn’t that much of a departure from the director’s typically violent and bombastic works. However,it’s unapologetically disjointed, plotless, and firmly among the ranks of exploitation films.While Tarantino has never shied away from expressing his interest in gore and the exploitation genre,Death Prooftook things even further, showing incredibly gruesome deaths and terrifying action. However, there’s a reason why exploitation films rose to prominence in the first place as they do scratch a specific itch.
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The style, one of Tarantino’s biggest assets, is what keeps drawing me back toDeath Proof. Split into two parts, each in conversation with different eras of the exploitation flick,Death Proofplays with the cinematography and archetypes that appear across the genre.The stunts inDeath Proof, particularly in the second half, are astounding, and the film boasts some of the modern car chase scenes in contemporary cinema. While not everyone will connect with the sudden tonal shifts and graphic imagery, it will appeal to diehard Tarantino fans.
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Ethan Coen’s solo projectDrive-Away Dolls, co-written with Tricia Cooke,is a movie made for audiences who love a good reference. Modeled after the style of classic B movies and a celebration of the classic crime road film,Drive-Away Dollscares less for narrative cohesion than it does for great moments, and there are many in the movie. The film is anchored by Margaret Qualley, whose dedication to working on experimental and indie projects never fails to amaze me.
Going intoDrive-Away Dollswith the right expectations is critical to appreciating and understanding the project.
Drive-Away Dollswill likely have a resurgence in the coming years as people start to meet the film where it’s at instead of trying to make it something it’s not. Going intoDrive-Away Dollswith the right expectations is critical to appreciating and understanding the project. The movie isn’t meant to have the taught tension of a Coen Brothers movie or the happy-go-lucky energy of a rom-com. It’s a unique blend of genres and a tribute to film history that is unapologetically itself.
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Perhaps it’s nostalgia that fuels my enduring love for the teen rom-comShe’s All That,but rewatching it today makes me certain it’s something more. Though it’s packed with tropes that have been heavily satirized as the years have progressed, and the misogynistic overtones are very apparent, there’s something compelling aboutShe’s All That, and its cast might be one of the biggest draws for me.
One of the mostunforgettable teen romance movies of the ’90s,She’s All Thatfeatures Freddie Prinze Jr., Rachael Leigh Cook, Paul Walker, and a young Kieran Culkin, to name just a few of the all-star cast. As in all the best teen com-coms,the ensemble seems like they’re having a lot of fun together, and it’s hard not to want to join in.Watching Laney and Zack make their first fumbling steps toward a real connection never gets old.
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Released during the height of the YA dystopian genre’s popularity,The Givernever reached the heights of movies likeThe Hunger GamesorDivergent.Even though the book it’s based on by Lois Lowry is a classic,The Giverwasn’t well-received. It was quickly forgotten as other, more successful films rose to fame. However,The Givershouldn’t be counted out yet, as it boasts some interesting creative choices. Jeff Bridges lends his talents to the project, and he’s joined by Meryl Streep and Alexander Skarsgård in the cast.
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There were many parts ofThe Giverthat should add up to an iconic movie, as the actors are all dedicated to investing in the timeless story of the right against suppression.It’s the story that moves me when I watchThe Givertoday,even if some of the visual effects haven’t aged as well. The intensity of the feelings displayed onscreen and the thematic implications of the narrative provideThe Giverwith an edge that many YA films don’t have.
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Ben Stiller first demonstrated his abilities as a director inThe Secret Life of Walter Mittylong before he became one of the biggest creative names behind the hit TV showSeverance. However,The Secret Life of Walter Mittydid not receive the universal praise that the Apple TV series has garnered. Despite this, from the first time I watched the movie, I was swept away by the magical realism of the narrative and the heartfelt performance given by Stiller as Walter Mitty.
Walter is a stand-in for the audience, as we are desperate to escape our ordinary lives and have an adventure as much as he is. However, this is the jumping-off point for many classic films and might not immediately capture the audience’s attention. What setsThe Secret Life of Walter Mittyapart is the fact thatit doesn’t shy away from showing how uncertain and scared Walter is during his most heroic moments.Due to this, it’s easy to feel as if you really could go on an unforgettable journey like him.
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Though many people have turned the corner onJennifer’s Body, it’s become something of a cult classic. However, there are still many viewers and critics who don’t see its merit. This is shocking to me, as I started lovingJennifer’s Bodythe first time I saw it, and it was a jumping-off point to make me more interested in the horror genre. The script by Diablo Cody, who wroteJuno, another favorite of mine, iswhip-smart and demonstrates the best understanding of the complex friendships between young women I’ve seen onscreen.
This is why so many people have returned toJennifer’s Bodyand felt seen and understood by its narrative.
When it first premiered, many people went to seeJennifer’s Bodythinking they were going to watch an exploitation flick that treated Megan Fox similarly to the way she was objectified inTransformers. While there’s no shortage of objectification going on inJennifer’s Body, the movie successfully flips the story and subverts our expectations about who’s got the power in the film. This is why so many people have returned toJennifer’s Bodyand felt seen and understood by its narrative.
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Though Tom Cruise and Cameron Diaz should’ve been a box-office-breaking duo back in 2010 when they teamed up on the action comedyKnight and Day, it wasn’t a blockbuster hit. While it made a decent amount in theaters, it wasn’t the smash hit the actors were used to, and the film received plenty of criticism for its issues. However, even if it’s formulaic,Cruise and Diaz make a compelling pair inKnight and Day, and I love the fast-paced action sequences.
Some of the comedy is a little over-the-line by today’s standards, but it’s clear thatKnight and Dayis poking fun at the tropes and pitfalls of the spy genre.It moves at a propulsive pace and never lets up, keeping the viewer engaged as the characters swiftly change locations and learn to work as a team. The romance angle takes a back seat inKnight and Day, but that doesn’t make Diaz and Cruise any less fun to watch work onscreen.
Knight and Day (2010)
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