We find ourselves falling in a pile of dead turkeys, getting confused and coming up smelling of roses. 

A rare Friday evening in, without a companion in sight for distraction, led to a gorge of films that succumbed to the demands of academe, and the desires of absolute popcorn. Amongst the selection was John Hillcoat's excellent The Road, incredibly entertaining footy-flick The Damned United and the much hyped scary Paranormal Activity.

Armed with little other than salted and sweetened popcorn, a wave of paranoia hit resulting from the latter's tagline: 'Don't watch it alone'. Irrespective of a disbelief in the existence of poltergeists and demons, it's not good to be terrified and unaccompanied in the middle of the night.

Decision made, Paranormal Activity went on first. Thankfully this meant any final thoughts before sleep were saved the instant memory of a film so perpetually boring it threatens death by sleep, not scares.

44 Inch Chest followed. An entertaining film, stolen from countless other scenarios (not least the cinemas of East Asia, and by default their Western admirers). And yet it's been said, by friends and peers alike, that this is a truly awful film, with "I felt like burning my eyes out" amongst the worst comments.

So what makes a film bad? More so, what makes that magical moment where a truly awful film takes on a higher presence- that of the cult or counter culture classic? And, by association what makes a good film good.

"All you need to make a film is a girl and a gun" Jean Luc Godard is famously 'quoted' as saying. It might be a little rich coming from a man whose oeuvre includes works of hyper-political surrealism such as Weekend, but it still counts as one of the most accurate descriptions of the filmmaking process.

It doesn't even have to be a girl, or a gun really. It could be a dwarf and an abandoned train depot. The simplest storylines are often the most believable, and high concept doesn't necessarily mean high quality.

With that in mind it's time to stop boring you, and offer a small selection of fine examples that follow 'Godard's Law of Simple Concepts', or try to. We think so, as each centres on a guy's girl, and gun. Well, except one, which is worthy of inclusion because it's the most perfectly simple film of the last decade. Sit back and see if you agree... 

Breathless; Jean Luc Godard

Buffalo 66; Vincent Gallo

Another Day in Paradise; Larry Clark

The Station Agent; Thomas McCarthy