That return to the cinematic spotlight dovetailed with another significant moment in her career, which could best be dubbed the “Fuggit, I’m Not Teasing Anymore” phase. Sensibly, she responded by going small, popping up in the large ensembles of Dick Tracy, Shadows and Fog, and A League of Their Own Body of Evidence put her back above the title. After a well-received supporting debut in Desperately Seeking Susan, she did a trio of starring turns in three films ( Shanghai Surprise, Who’s That Girl, and Bloodhounds of Broadway) that effectively rendered her cinematic poison. First and foremost, her track record with motion pictures had been… well, uneven would be the nicest way to put it. To fully understand the world into which Evidence made its thudding entrance, you have to know your Madonna history. And in this spirit, Flavorwire brings you this month’s installment of our monthly So Bad It’s Good feature: Madonna’s notorious 1993 S&M-fueled erotic thriller, Body of Evidence. But the most rewarding terrible movies are those we know as “so bad they’re good” - entertaining in their sheer incompetence, best braved in numbers, where the ham-fisted dramatics and tin-eared dialogue become fodder for years of random quotes and inside jokes. There are nearly as many categories of terrible movies as there are for great ones: there are films that are insultingly stupid ( Batman & Robin), unintentionally funny ( Birdemic), unintentionally, painfully unfunny ( White Chicks), so bad they’re depressing ( Transformers), and so on.
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