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There are certain movies that despite being so bad, they have elements that redeem them to turn them into cult classics. We have seen it with Showgirls by Paul Verhoeven, The Room by Tommy Wiseau and that infamous psychological thriller that buried Lindsay Lohan's career in 2007 entitled I Know Who Killed Me. Films whose entertainment factor lies in the absurdity of their absurd dialogues, their exaggerated performances and the lack of coherence in their history. Serenity has the necessary ingredients to become a guilty pleasure, and join the list of the aforementioned productions.

From its cryptic start, Serenity is a disturbing and confusing experience. The camera takes us through the eye of a teenager to the depth of the ocean. From there we jumped towards the surface as if we were a fish, to later cross the sky and fly over a small boat that bears the same name of the tape. Just as this initial sequence is meaningless, others abound throughout the production, leading us to question the decisions of director and writer Steven Knight, who six years ago brought us the intense thriller Locke starring Tom Hardy.

The film revolves around Baker Dill (Matthew McConaughey), a war veteran now turned into a fisherman who lives on the paradisiacal island of Plymouth. Dill's main motivation is to catch a fish of gigantic proportions that lurks the waters of the ocean. This mysterious obsession - impossible to get out of his mind - has led him directly to failure, so his lover Constance (Diane Lane) decides to support him financially in his tenacious search.

The protagonist's routine is interrupted by the unexpected arrival of his ex-wife on the island. In a provocative dress, Karen (Anne Hathaway) presents a malevolent proposal: ten million dollars in cash in exchange for killing her abusive husband, played by Jason Clarke. At the same time, two other sub-frames add an extra touch of confusion to the story: the telepathic communication between Dill and a teenager who is in front of his computer writing code, and the harassment of a strange well-dressed man who follows the protagonist for everywhere.

What comes next is a series of nut twists so wild and unlikely that they put M. Night Shyalaman on a pedestal. Suddenly, the only question that surrounds our mind is how it was possible that two Oscar-winning stars have ended up as protagonists of this absurd and confusing thriller pseudo-noir. Even more curious is that both McConaughey and Hathaway take the film too seriously and never lose their composure at the exaggeration and falseness of their characters.

Not happy with everything presented, Knight decides to finish off with a final act that leaves nothing to the audience's imagination and basically over-explains the film. The most interesting of all is that despite its mistakes, Serenity is extremely entertaining. We don't know if it was because we were perplexed by such a plot of madness or it was simply the morbidity and curiosity towards the unpredictable, but one thing we can assure you: the film kept our full attention from beginning to end. Although it is not a comedy itself, Serenity makes laugh not only once, but several times, thanks to his involuntary touch of humor.

Exaggerated, ridiculous, over-acted, poorly executed and incomprehensible, Serenity is a bad movie wherever one looks for it. A tape that never loses its seriousness, instead of accepting its failures and taking things with a lighter tone. Its great redemptive quality is that it is not boring at some point. It always has a surprise waiting for us around the corner, even if they don't make sense. That is why we would not be surprised that in the not too distant future we collectively admire (and celebrate) the disaster that is Serenity.

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