A Mindless Debate

Are 'Mindless' films really mindless? No. Stop trying to fool yourself into thinking they are, because all you're being is counter productive. Oh, and the same thing goes for all the people trying to label every third film as being mindless. Now before I go on, let me get this out there - I'm not defending crap movies which were made with the knowledge that they were crap but going to make a crap load of money anyways. The problem here is not a question of relative quality, it's a question of perceived acceptance.

You see, every single one of us at some point in our life has liked a film that, all things considered, has the narrative depth of a car dealership commercial. It's just a fact. Yes, even those so prudish they would never sit within smelling distance of a major theater chain. Oh, and I'm also talking to you, people who like to hide behind action not willing to admit they've seen a couple movies with deep social messages and character development and kind of enjoyed it.

But in a manner that puts politicians to shame, neither side is willing to budge from this arbitrary and entirely pointless "us versus them" mentality. Which only goes to further embattle and firm the opposing viewpoint, and does a wonderful job of progressing the world of cinema absolutely nowhere. Not to mention dragging out every debate on a blockbuster

Just because something is mindless, or indeed very mindful, with respect to its conception doesn't make it good or bad. It is the execution that matters, and the quicker we admit that, the better off we'll be. Of course I think the films that are most often received as 'best' are films that find a way to blend mainstream entertainment and social context in a way that people can digest relatively easy. Just look at the last handful of best picture winners - if you don't mind my using that as a scoping device.

King's Speech blended comedy and history; Hurt Locker had high tension thriller with war drama; Slumdog Millionaire delivered stylistic action/feel good with coming of age poverty drama; Crash gave us... wait, let's not go there. But the formula works, and while I may not gush over him, it's one directors like Christopher Nolan know very well. If you want more than just an immediate splash, you've got to go the middle route. To blend seemingly mindless action with social commentary. Too much in either direction and you'll lose the other group, but if you trickle down the middle, the cash and people will flow for years to come