Rushmore. What is there not to like?
Bill Murray. The drummer from Phantom Planet. Futura Bold.
Needless to say, I was taken aback when Nell said she didn't like it.
Let me rephrase that. She hated it.
Which is okay. We all disagree about movies. But this wasn't one of those "agree to disagree" situations [like that fight Mark and I had over the merits of
Ballistic: Ecks vs. Sever]. I didn't even have particularly strong feelings about the movie.
The point was this was the kind of quirky little indie flick that high school Nell, a quirky little indie in her own right, should have loved. But she didn't. And I refused to accept it.
We all formulate little algorithms in our head about the kind of things our friends like and dislike. They are superficial and reductive, but they usually work.
Ian, bless his heart, has an incredible tolerance for the worst movies. And I mean the absolute worst. In the span of six hours we once sat through
Walking Tall,
Doom, and
Soldier. If there is a trashy action movie that nobody else will see, I know I can always rely on him. Yet, he mysteriously loathes
Ghost World -- a fairly harmless twee comedy in the vein of Wes Anderson.
What is it about these turn-of-the century indies that is so polarizing?
And it is not just my circumstantial evidence.
There is a large industry dedicated to deciphering a person's individual taste. In fact, Netflix has a competition based around trying to improve its rating estimation by 10%. Succeed, and you net a cool $1,000,000. What people have discovered, however, are a few vexing movies that seem to have a high variability of people loving them or hating them. These outliers are the final obstacle in surpassing the 10% threshold.
It has become such a problem that people have dubbed it the "Napoleon Dynamite" issue.
A few of the top movies with high variance stick out for obvious reasons: Fahrenheit 9/11 (political), The Passion of the Christ (religious), Twister (Bill Paxton).
What intrigued me were the top 5 didn't seem to have these obvious signifiers.
The Royal Tenenbaums ([My] User Raiting: 5.0, Average Rating: 3.3)
Lost In Translation (UR: 5.0, AR: 3.3)
Pearl Harbor (Likely User Rating: 1.3, AR: 3.5)
Miss Congeniality (LU: 2.1, AR: 3.4)
Napoleon Dynamite (UR: 3.0, AR: 3.4)
Instead, I would categorize most of them under the quirky indie comedy label. [
Pearl Harbor remains a mystery.]
Although the Netflix data only extends to 2006ish, I have a feeling we could safely throw
Little Miss Sunshine and
Juno into the volatility index.
So, I repeat my earlier question and open the floor to you: what is it about these turn-of-the century indies that is so polarizing?
[Editor's note: future Nell later recanted her heretical views on Wes Anderson. She now rates
Rushmore with Four Stars on Netflix. Ian's current opinion on
Ghost World could not be determined by the publishing deadline.]