The Slow Roll is founded on the exact opposite of this feeling.

Bad movies happen all the time. In fact, most of the new releases crowding your local multiplex each and every week are mindless, art-free drivel. There is nothing fundamentally wrong with this -- as the saying goes, they can't all be winners. And there is something to be said for a good old-fashioned guilty pleasure. Sometimes, it's okay for a movie to deliver nothing more than a good buzz, leaving you satisfied and unchanged when it's all over.

And then there are the bad movies. Oh, most of us can name a few of those; unfortunately, it's usually the same few. Glitter, Swept Away, The Godfather Part III -- the same classic turkeys resonate in the public consciousness as a result of sensational critical beatings. But how worthy were these films of such media frenzies, anyway? Don't get us wrong, the Slow Roll is not here to defend any movies starring brokedown popstars or Sofia Coppola. However, these famous flops are usually related in sentences beginning with, "I heard..." and frequently concluding with, "...that movie is supposed to be terrible."

The Slow Roll does not exist to hear or suppose. When it comes to the most famous bombs of all time, more often than not, these films don't even deserve to be famous for that. They're boring. They're lifeless, predictable, and dull, but hardly noteworthy. Is Gigli really worse than Be Cool? We argue not, and can personally attest that Be Cool's lack of "bad movie" cred doesn't speak to any higher quality. (Or, if you insist on beating the dead horse that is Gigli, consider that it doesn't measure up even in this respect.)

So, why does the Slow Roll exist? Because there is a class of movies that exists below the classic "bad movies." Many bad movies are bad, yes, because they're not good. What the Slow Roll seeks to expose are films whose badness is built into each and every frame. Each edit heralding fresh incompetence, every line a woeful misfire conceived in stupidity. The resulting catastrophe drives you to question the medium, the industry, and the state of your own soul. Yes, a movie can be that bad.

These films usually escape notice, sneaking under the radar in a shroud of apparent mediocrity. Is it really fair for these crap-fests to get away with it? If the Slow Roll is successful in its mission, you will soon be able to pick these creative disasters out of a lineup, and understand the world of difference between seemingly interchangeable duds like Honey and You Got Served.

As Elizabethtown's Drew Baylor states with ironic eloquence: "There's a difference between a failure and a fiasco. A failure is simply the non-presence of success. Any fool can accomplish failure. But a fiasco... A fiasco is a folktale told to others, that makes other people feel more alive because it didn't happened to them."

The Slow Roll is concerned with cinematic fiascos. These films insult you 24 times every second, and we're just getting even.