Miike Takashi supposedly believes that there are no bad movies—for him, something of value can be learned from each and every one. I think about that idea often, because I increasingly believe that the definition of a bad film is precisely one that can’t be learned from. Rare is the good bad film that makes a genuine impression on you, one whose ideas seem fatally misguided yet vigorous and authentic. I spend my days dreaming of a world where all bad films are as good as Tori et Lokita.
Despite the embarrassed averting of the eyes performed by the collective critical consciousness when the film made its Cannes debut, the latest from Jean-Pierre and Luc Dardenne has nonetheless dutifully continued its tour of the international festival circuit (I caught it at the Viennale). If seems too bloodless
