Abstract

There are bad movies, and there are movies that are so bad that they are good. So-called good bad movies have received a lot of attention from critics and moviegoers in recent years. Many people, including those with good taste, are willing to invest their time and resources in watching and discussing them. In this paper, I will argue that the fact that aesthetically competent consumers of cinema are engaging with good bad movies challenges an intuitive assumption according to which a film merits appreciation qua film only if it manifests artistic competence. I will argue that we should weaken this assumption. Good bad movies do merit appreciation because they are unique in instantiating artistic possibilities that are out of reach of competent filmmakers. I conclude the paper by comparing and contrasting my account with a recent view of good bad art, suggested by John Dyck and Matt Johnson.