As an avid devotee of The Room, and a connoisseur of crappy cinema, I have been looking forward to this movie for literal years. I’ve been fascinated by Tommy Wiseau’s movie ever since I first saw it in 2009, and I’ve since watched it over 40 times. In my review for the movie, I said if I had to pick only five DVDs to take with me on a desert island, I might just select five copies of The Room. It’s that rare form of bad movie that is a thousand brushstrokes of bad, where you can discover something new with every viewing, and you desperately want to have your friends discover this miracle of filmmaking. It’s become a modern-day cult classic and theaters have been playing rowdy spoon-tossing midnight screenings of Wiseau’s film since its initial 2003 release (humble brag: I’m responsible for it playing on a monthly basis in Columbus, Ohio since 2009, the only regular public screening in all of Ohio). From its successful re-branding as a “quirky new black comedy,” fans had burning questions that needed answering, and that’s where Room actor Greg Sestero co-wrote a behind-the-scenes book, The Disaster Artist. One fan was multi-hyphenate James Franco, who purchased the adaptation rights, attached himself as director and star, transforming into Wiseau and tapping his younger brother to play Sestero. Who would have guessed all those years ago that these beleaguered actors would soon have Hollywood celebrities portraying their astonishment? The Disaster Artist might be one of the best films of the year by chronicling one of the worst films ever made.
Greg Sestero (Dave Franco) is a struggling actor in San Francisco when he meets the Teutonic acting force that is Tommy Wiseau (James Franco). Tommy doesn’t behave like anyone else, for good or ill, and it inspires Greg to become friends with him. Tommy says he’s the same age as Greg, though is clearly double, and that he’s from New Orleans, though he definitely sounds more vaguely Eastern European. Tommy also has a lot of money and elects to move to L.A. to make it in the film industry, and he wants his best friend Greg to join him. Greg finds some beginning levels of success but Tommy is rejected at every turn, determined as too weird and off-putting by casting directors. He doesn’t want to play a villain; he sees himself as the hero. Tommy won’t wait for Hollywood and decides to make his own movie. He’ll write it, direct it, and be the star, and Greg can be his onscreen best friend. The Room, Wiseau’s magnum opus, was a stunning document of filmmaking ineptitude that had to be seen to be believed, and many of the people involved were certain it would never be seen at all.
I was worried that the film version would simply be many painstaking recreations of scenes from The Room and watching characters snicker. Thankfully, the recreations are kept to a minimum and The Disaster Artist personalizes the story in the friendship between Tommy and Greg. If anyone has read the book, you’ll know there is a wealth of juicy anecdotes about the bizarre onset antics and about the human enigma himself, Wiseau. The film could have been three hours long and just thoroughly focused on all of the crazier aspects of the behind-the-scenes and I would have been satisfied. However, the ace screenwriters, Scott Neustadter and Michael H. Weber (The Fault in Our Stars), have elided all of those crazy details into a story about a personal relationship. The most memorable tidbits are still there, like the 60 plus takes needed for Tommy to say one line, but the sharper focus allows the film to resonate as something where you can genuinely feel invested in these people as characters rather than easily mocked send-ups. Greg feels greatly put upon by Tommy but he admires his fearlessness, and deeper down he feels indebted to Tommy for getting him onto the road to his dream. Thanks to Tommy, Greg was able to move to L.A., find a place, become an actor with representation, and book commercial spots. Tommy is also an anchor weighing him down. Greg will routinely have to place his rising career opportunities at the mercy of Tommy’s capricious sense of loyalty. It’s a movie that explores the value of friendship and the lengths people will go.
This is also an extremely funny movie. Part of the allure of The Room is how it feels like a movie made by space aliens who didn’t quite understand human interactions. The head-scratching choices and dropped subplots and redundant, nonsensical plotting are all given examination, allowing the audience to be in on the joke even if they have never seen Wiseau’s actual movie. This is a film completely accessible to people who have never seen The Room; however, if you have seen The Room, this movie is going to be 100 times more fascinating and enjoyable. The sheer bafflement of what transpired is enough to keep you chuckling from start to finish. The Disaster Artist is wonderful fun, and the actors involved are here because they love Wiseau’s movie. The celebrity cameos are another aspect that helps to add to the film’s sense of frivolity, spotting familiar faces in roles such as Casting Agent #2 (Casey Wilson), Actor Friend (Jerrod Carmichael) and Hollywood Producer (Judd Apatow). Watching everyone have a good time can be rather infectious, but The Disaster Artist succeeds beyond the good vibes of its cast.
Rather than lap up the easy, mean-spirited yuks, The Disaster Artist goes further, following a similar point of view with 1994’s terrific Ed Wood by portraying these men as deeply incompetent filmmakers but also as sincere dreamers. Wiseau is clearly overwhelmed by the demands of being, let’s be generous, a traditional filmmaker, but he is also a person who set off to achieve a dream of his own. He was denied other avenues so he took it upon himself, and a mysterious influx of money he doesn’t like to discuss, and this self-made-movie star built a vehicle to shine brightest. Sure, ego is definitely a factor, though one could argue it plays some degree in all creative expression needing an audience. Wiseau didn’t let a little thing like ignorance of storytelling, film production, or how to handle cast and crew as human beings with needs stop him from plowing ahead to prove his doubters wrong. The filmmakers definitely find a certain nobility in this artistic tenacity, as did Tim Burton with Ed Wood. It’s natural to pull for the underdog, even an underdog that is so naïve it might be worrisome. You can laugh freely at Wiseau, and you will, but you may also start to admire his gumption. As the opening barrage of celebrity interviews posits, you could not make something like The Room even if you were the greatest filmmaker on the planet. It is nothing short of an accidental masterpiece. It is a movie that has entertained millions of people and one they feel compelled to share with friends and family, compelled to bring others into this strange, beguiling cult of fandom. While Wiseau may not have made a “good movie,” he has made one for the ages.
James Franco (11.23.63) deserves an Oscar nomination for playing Tommy Wiseau. I’m serious. He is channeling some Val-Kilmer-as-Jim-Morrison lightning when it comes to simply inhabiting the spirit of another person onscreen. It’s crazy that a movie so bad could inspire another movie that might legitimately compete for legitimate awards. James Franco is entrancing with his performance as he fully channels Wiseau, an almost mythic figure that we have never seen the likes of before. The accent is pitch perfect and impossible not to imitate after leaving the theater. Wiseau can be manipulative and cruel but he can also be generous and selfless. He takes great ownership over his friendship with Greg, so he believes all of his actions are to help their unique bond, even when he’s pushing that same person away. He so desperately wants acceptance but seems incapable of achieving it on anybody’s terms but his own. Wiseau is a fascinating film figure, and the movie does a fine job of neither overly romanticizing him nor vilifying him. Even despite his missteps, you may find yourself feeling sympathy for Wiseau, and that’s a major credit to the screenwriters and James Franco’s magnetic performance.
The other actors, a.k.a. everyone in Franco’s sphere of friends, are committed, enjoyable, and plugged into why exactly audiences have grown to love The Room for years. Dave Franco (Now You See Me 2) is effectively the perspective of the audience, deliberating how much of Tommy to put up with and when to walk away. Seth Rogen (Sausage Party) gets the most sustained comedic run as a script supervisor who is bewildered by Wsieau’s methods. Alison Brie (Netflix’s GLOW) is our chief source of confused expressions as Greg’s girlfriend. Ari Graynor (I’m Dying Up Here) wrings great laughs from her awkwardness with Wiseau as filmmaker and onscreen anatomically-challenged lover. Megan Mullally (Will & Grace) is Greg’s disapproving mother who worries about what kind of relationship her son has with a much older man. Zac Efron (Baywatch) is hilariously excitable as the inexplicable drug dealer, Chris R. Speaking of excitable, Jason Manzoukas (The House) and Hannibal Buress (Spider-Man: Homecoming) are a great team as the film equipment rental guys who can’t believe their luck with Wiseau. Even two-time Oscar nominee Jacki Weaver (Silver Linings Playbook) gets some nice moments as an older actress who justifies in a heartfelt message why exactly everybody on set would go out of their way to work on such an awful movie.
If you’re a fan of The Room, then you’ll absolutely adore The Disaster Artist, and if you’ve never seen The Room, you’ll still find plenty of entertainment in Franco’s film. Wiseau’s 2003 film has to be experienced to be fully believed. The film-about-his-film provides the added extension of a coterie of characters to share in our bemusement and bafflement, providing a chorus of commentary. However, the movie isn’t all jokes at Wiseau’s expense. It evolves into a love letter for the power of art to bring distaff people together with a shared dream. Like Ed Wood, Wiseau might be incompetent by traditional measures of filmmaking but he ignored the naysayers and followed his artistic vision. Under Franco’s direction, he’s a modern-day Don Quixote, or just a really weird guy who lucked into a miraculous alchemy that gave birth to a cult classic. At the end of the movie, Tommy thinks he’s a failure. Greg reminds him to listen to the audience reaction. They are hooting, hollering, applauding, and having the time of their lives. He’s responsible for that and he should be proud of his accomplishment. I unabashedly love The Room. I introduce the theatrical screenings in Columbus. I loved The Disaster Artist book. This movie is everything I was hoping for, and it just so happens to be one of the funniest, most genuinely pleasurable films of the year.
Nate’s Grade: A-
Given the success of the female-centric mega hit Bridesmaids, it was only a matter of time before we got a slew of girls-behaving-naughty R-rated sex comedies. Enter the phone sex comedy For a Good Time, Call, which has the distinction of being co-written by Seth Rogen’s real-life wife, Lauren Miller, who also stars in the film. It advertises a good time and mostly delivers, though you might not think as much about the movie in the cold light of day.
Lauren (Miller) has just been dumped by her self-involved boyfriend and fired from her job. She’s looking for a new place to live when a mutual friend sets her up with a huge New York City apartment. The catch: her roommate is Katie (Ari Graynor), an acquaintance from college she has despised ever since a very horrifying party foul of seismic proportions. Katie’s going to lose her posh home unless she gets a roommate, so the women reach a mutual understanding. Then one day, listening to Katie’s hyperactive sexual noises, Lauren discovers how her roommate really pays the bills. She’s been running a phone sex line and getting guys off for $3.99 a minute. Lauren decides to get involved in the business end, and before long the ladies have become a professional outlet and roll in their riches. Invigorated, Lauren starts experimenting herself, letting her freak flag fly, and before long she’s also getting in on the calls.
Graynor is no stranger to stealing a movie, as she did perfectly in the sweetly unassuming 2008 teen romance, Nick and Norah’s Infinite Playlist. This girl has had the markings of a star for years and finally she’s found the vehicle to showcase her comedic vivaciousness. To say Graynor makes this movie is an understatement to her talents. Graynor is this movie’s pulse, its lifeblood, its font of energy, its wickedness, its exuberance, its very soul. This woman is amazing. She can take a simple line and with an effortless dose of comedic verve, it can become a gut-buster. I could watch twelve movies in a row with Graynor playing at this level of exciting excellence. The part is pretty familiar, the dirty girl who has problem with a filter, but Graynor makes the most of every opportunity. I loved her adorable theatricality, like a foxy, younger, brassy Bette Midler (God, did I ever think I’d string those words together?). I loved her enthusiastic hip shake, wearing large body stockings, while singing, “I’m ready to beat date rape!” Naturally, Katie gets all the best lines but her interplay with Lauren also works well. When the movie focuses on Lauren, and by extension the unremarkable performance by Miller, you start to feel things slag. Lauren is passive becoming active, but really even by the end she can still be cited as boring. Katie is active, hungry, brash, charming, and wonderfully portrayed by Graynor, and when she dominates, you’ll ask for more.
Except for the lively theatrics from Graynor, the movie can often feel hung up on generic sitcom plot devices and character generalities. The premise itself is perfectly fine, but the movie seems to exist in some randy fantasy world. We still have a main character in the world of publishing that will obviously be offered the Big Job at an inopportune personal time (as movies have shown, every human being on the planet either works in publishing, advertising, or theater). And then there’s the Bad Boyfriend, who breaks up with our heroine in the opening moments of the movie because they are “boring” together. Any guesses whether he shows up late as well, begging her back? I’d probably be more forgiving of these contrived plot turns if the movie did more to present Lauren and Katie as real characters. As written, they are pigeonholed into opposites (prude/wild woman) and rarely do we learn more about them. Lauren loosens up, Katie gains some self-respect, and they girls becomes BFFs. That development I found rather unconvincing, probably because there was little development. All of a sudden Lauren has an interest in joining the business, and one montage later, the girls have buried the hatchet. It feels like everything changed overnight. The attempts to ladle in some forced sweetness feels, in some regards, more crass than the sex jokes. I’ll credit the movie for keeping me amused while watching, but upon further reflection, the girls and their relationship feels rather slapdash and rote.
The comedy itself gets too easily complacent with all those naughty words bandied about. Oh sure there’s plenty of effective jokes about sexually frank conversations, and the inherently awkward nature of phone sex mechanics, but For A Good Time, Call seems too easily satisfied. I wish that Miller and co-writer Katie Anne Naylor had pushed their comedic setups further, had taken a few more left turns rather than settling for the familiar sex gag. Here’s an example: Lauren’s prissy parents make an unexpected visit and the girls have to hide their business particulars. That’s a fine starting point, but where else does it go? The comic tension is too easily resolved instead of escalated. Then, surprise, the parents make a SECOND unexpected visit. This time the sex decorations are prominently displayed. We’re waiting for some good comedic tension, some squirming, but again, it’s over before the good stuff can even get going (am I right, ladies?). The Justin Long (Going the Distance) flamboyantly gay friend is never as funny as the movie thinks he is. There’s a scene where Lauren is interrupted while masturbating, but we only realize after the fact when the joke is already over. Why introduce such a scenario if you were just going to settle for a weak “smelly finger” joke? Perhaps I would find the material funnier if I was a woman, relating more to the female dynamic on screen, but do you see how condescending that line of thinking gets? I unabashedly adored Bridesmaids (my #3 film of that year). I don’t think anyone needs to grade a comedy on a curve for any reason, especially if they think they’re trying to be polite.
I’m not going to make more or less of its sexual politics than what is presented. I think there is genuine merit when women take ownership of their sexuality. Why should women feel judged for wanting equality when bedroom activities and impulses are concerned? Whatever helps people build a healthy self-image should be championed, as long as it’s between consenting adults. Watching Katie and Lauren personally grow based upon their unique entrepreneurship is welcomed. However, I can’t help but shake my feelings that there is something lurking, some deeper sub current that is not worth celebrating because the movie seems to play into male fantasy. Even though I adored Graynor, I think it would have served the film better if the more sexually-liberated character, the pro when it comes to working the phones, was actually a less attractive woman, perhaps a mousy gal you’d never expect such lurid behavior from. I think that would offer more comedic potential as well. I think this would also puncture some of the airbrushed fantasy of the film’s cheescake world of a phone sex line.
I have my complaints but I was laughing fairly regularly and enjoyed the experience, so if you’re just looking for a good time at the movies you can consider For A Good Time, Call. Watching Graynor sink her teeth into her role and go full gusto is a rowdy pleasure, and it’s easy to see that this woman is a star. The smutty jokes are fun and offer plenty of ribald laughs, but I always felt like the movie was too complacent, too settled, and curiously clumsy when it came to comic payoffs. The film is pretty flatly directed by Jamie Travis. The characters are pretty thin, and the plot feels ripped from a flimsy TV sitcom, but I laughed aplenty and found the movie difficult to dislike. It’s not the most nuanced sex comedy, or the most ribald, but For a Good Time, Call delivers enough big jokes and Graynor is too sensational to miss.
Nate’s Grade: B