Lewis Carrol

Wayne Kramer’s “Running Scared” is an exemplary flick in that it perfectly embodies the “it’s so bad it’s good” paradox. While certainly not specific to the film world, this phrase is too often tossed around to disavow our own admiration for something that we plainly acknowledge has deep shortcomings. This process of loving a film that is clearly flawed technically or that may be ideologically yet wonderfully shocking in its audacious character, narrative, and stylistic logic is familiar to most horror aficionados.