Film critics often have the enviable opportunity to weigh the merits of movies, but sometimes their judgments miss the mark, leaving certain films to languish under the weight of harsh reviews. Recently, movies like Ben Stiller's Zoolander 2 and Peter Bogdanovich’s She’s Funny That Way have emerged as examples of works once panned by critics but are now being reassessed by audiences who see new light and value within them. There seems to be a consensus forming among some viewers: not all bad movies deserve their reputations.
Released on February 12, 2016, Zoolander 2, starring Stiller as the male model Derek Zoolander, faced monumental criticism upon its debut. Despite the film being produced on a $55 million budget, it stumbled at the box office, pulling only $56 million more, which many critics labeled as indicative of its lackluster quality. Critics on Rotten Tomatoes rated it at a mere 22%, and audience engagement registered even lower at 20%. With these disappointing numbers, the film was nominated for seven Golden Raspberry Awards, which is known for celebrating the worst of cinema.
During his recent appearance on the YouTube show Hot Ones, Stiller was asked which of his films he believed had been misunderstood, and he unreservedly pointed to Zoolander 2. He expressed surprise at the severity of the response, stating, “It’s very hard to analyze why critics like or don't like something. I'm always surprised when critics love something, and I'm always surprised when they hate something. Because it's so subjective. I mean, Zoolander 2, probably, I gotta say. I think it got kinda, you know. It's like, hard to think it was bad, and people didn't like it.” His remarks indicate the shifting perspective audiences might adopt as time passes and as pop culture evolves.
Meanwhile, we see yet another notable addition to this trend with She’s Funny That Way, released by Peter Bogdanovich, who is well-known for classics such as The Last Picture Show and What’s Up Doc?. Despite his efforts, She’s Funny That Way was met with dismal enthusiasm, scoring just 46% from critics and 35% from audiences on Rotten Tomatoes. Critics called the film’s humor sparse, even as fans of the screwball comedy genre noticed the efforts of its stellar cast, which included Wilson, Imogen Poots, Kathryn Hahn, and Jennifer Aniston. Its plot revolves around Arnold, played by Wilson, who inspires female escort Izzy to pursue her acting dreams, leading to convoluted comedic situations.
Despite its box office struggles, grossing only $6 million against its $10 million budget, She’s Funny That Way is being reevaluated by certain viewers who appreciate its sophisticated narrative architecture and ensemble performances. Many argue the chaotic intertwining of characters offers something fruitful for future audiences to understand, making it regardable as part of Bogdanovich’s legacy rather than just another career misstep.
Even films beyond Stiller and Bogdanovich's offerings are facing reassessment. Films initially considered 'so bad they're good' have secured their place within popular culture through endearing flaws. For example, Twilight may be criticized for its melodrama, but its rivalry between factions grasps the interest of millions. Meanwhile, Jennifer's Body is another film labeled as misjudged, finding support for its unique take on high school horror tales. Such films highlight how certain cinematic experiences resonate well beyond their intended essence.
The iconic lines, awkward acting, or bizarre settings of these movies provoke laughter or enjoyment, gradually altering their criticisms. Films, like Bee Movie or Snakes on a Plane, finding favor at midnight screenings are indicative of this phenomenon. There’s something about the shared amusement of dissecting their obvious flaws or engaging oneself with their oddness. The way moviegoers rally around these films speaks to the community spirit shared through popular culture.
This growing trend of re-evaluations highlights how movie culture can be humorously subjective. While critics tally their ratings or quotable quips, the audience often brings their own perceptions rooted in nostalgia or simply the joy of witnessing something imperfectly entertaining. The fun lies within the analysis and how we can occasionally revel in the quirks of the widely deemed 'bad' films. After all, who hasn't shared hearty laughs over some of the most ill-famed cinematic marvels?
Despite the mixed bag of reactions, filmmakers continuously push creative boundaries, allowing audiences merely the chance to experience different ranges of storytelling. Within this amorphous space exists the exploration of misjudgments where many films undertake transformative journeys fueled by audience appreciation. Stiller’s films, along with Bogdanovich's directorial finality, carve out spaces for reassessment which can pave the way for progressively reimagining narratives.
