Being one of the jaded cinephiles Sconce describes in his introduction, looking to bad films for “that shock of recoginition, a random moment of poetic perversity, the epiphany of the unexpected,” (9) I dove into Sleaze Artists, eager to find more facets of sleaze to celebrate. Rather than a series of explanations of the subversive possibilities of violence or the sheer aesthetic experience of sexploitation, I found a range of approaches dominated by ambivalence rather than celebration, demonstrating the versatility of ‘sleaze studies’.