Det er jo en kult turkeysecondtoughestintheinfant skrev: ↑08 okt 2019 14:44Ej, seriøst? Altså, den er jo selvfølgelig ikke lige så ideologisk anstødelig som de moderne superheltefilm, men det er satanedeme en i særklasse dårlig film. Soundtracket er til gengæld fedt uden helt at være på højde med det legendariske Batman Forever-soundtrack.
https://thecomeback.com/pop-culture/bat ... -made.html
De herre og damer udi filmkritikken vil iøvrigt nok synes om det her showdown med "the golden of television" og den episke tv serie som han bygger på omkring et ret fedt klassifikations system that will come in handy i denne debat:
About fifteen years ago, my roommate and I developed a classification system for TV and movies. Each title was slotted into one of four categories: Good-Good; Bad-Good; Good-Bad; Bad-Bad. The first qualifier was qualitative, while the second represented a high-low binary, the title’s aspiration toward capital-A Art or lack thereof.
Some taxonomies were inarguable. The O.C., a Fox series about California rich kids and their beautiful swimming pools, was delightfully Good-Bad. Paul Haggis’s heavy-handed morality play, Crash, which won the Oscar for Best Picture, was gallingly Bad-Good. The films of Francois Truffaut, Good-Good; the CBS sitcom Two and a Half Men, Bad-Bad.
Other titles inspired more debate. Were the screwball comedies of the Thirties and Forties Good-Bad or Good-Good? Their farcical plots indicated the former, but the witty repartee of His Girl Friday and Bringing Up Baby seemed to earn them inclusion in the latter category. Trickier still were titles that failed in their highbrow ambitions but succeeded, accidentally, as camp. Where to place Donnie Darko, a film that reached for profundity and fell on its face, offering instead the fun of pulp sci-fi? It was here—usually about five beers in—that our reductive system unraveled, prompting the suggestion of an additional preliminary qualifier. (Might Donnie Darko be Good Bad-Good?) My roommate and I caught a lot of sunrises that year.
We had time on our hands. We were twenty-two years old, living in Austin, Texas, and loosely employed; we shared a gig spinning a giant orange arrow outside open houses. Our artistic ambitions were grand but in flux. One week we might make headway on a screenplay, while the next we’d brainstorm names for a psychedelic jug band. We saw ourselves as the spawn of Richard Linklater’s Slacker, a pretentious art film that we agreed was Bad-Good. It was 2004, and though we’d been told that irony had died on 9/11, it appeared to have been resurrected in the hipster aesthetic that paired Nineties ennui with the stylistic hallmarks of Eighties kitsch: spandex and synthesizers, neon everything. This was useful; irony allowed for the guiltless consumption of the lowbrow pop culture we adored. There was a lot of it, especially on TV, where shows like The O.C. epitomized Good-Bad.
Good Bad Bad Good - What was the Golden Age of TV?
https://harpers.org/archive/2019/10/goo ... elevision/