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-
The first Now You See Me was a pleasant surprise that took a simple concept (magician heist) and injected enough sly fun, style, and humor and made a memorable action thriller. As success demands, a sequel was commanded, but I had hopes considering the blueprint of its success could be repeated because those core elements were strong. We all love heist movies, we all love to be fooled, we all love to watch a smart people befuddle those in power, and the reveals made it even more enjoyable. I wasn’t expecting Now You See Me 2 to drop much of what made the first film appealing and shamble through its set pieces with a disinterested sense of sequel duty. The magic is gone.
The Four Horsemen magic act (Jessie Eisenberg, Woody Harrelson, Dave Franco, Lizzy Caplan) has made quite a few enemies. They’re a group that attacks the fraud, exploitation, and greed of those rich and powerful who feel untouchable. This merry band of Robin Hoods is transported against their will to Macau, China by Walter Mabry (Daniel Radcliffe). Walter lost a lot of money from the Horsemen’s antics in the first film and demands they steal a super microchip that will allow him to erase his identity and stay private permanently. Meanwhile, the Horsemen’s handler, Agent Dylan Rhodes (Mark Ruffalo), is blackmailed by famous and currently incarcerated Thaddeus Bradley (Morgan Freeman). Bradley has a score to settle with the Horsemen and uses Rhodes to escape from prison. All forces are headed to Macau and much more will be learned of the Horsemen’s behind-the-scene organization, The Eye.
It feels like the filmmakers aren’t even trying to keep one foot in reality this time. It’s not like the first Now You See Me was a deeply grounded movie but it took pains to at least offer varying explanations for how these illusions were accomplished. Some of the answers were clever and some were preposterous, but at least they tried to show you their work, which made the Horsemen even cleverer, in my book. Understanding the preparation for the illusions and the execution of them adds to their impressive aura. The characters in the sequel don’t even attempt to explain the far majority of their tricks, and it’s simply not as fun. The opening job is a fun refresher because we see the different characters working together but also because we can see how they’re getting away with their shenanigans. As the movie continues, those magic acts get bigger and bigger and more ludicrous and harder to explain and then the movie just stops trying to explain. At this point magic might as well be real and the Horsemen are wizards. There’s suspension of belief and then there’s simply obliterating all connections to reality. When Eisenberg can control the direction of rain itself without any explanation, it cheapens the thrill. Because if there isn’t some level of limitations, requiring the tricks to be based in reality, then the on screen efforts lose their appeal because it doesn’t matter. It’s like haphazardly just writing, “The Horsemen do some magic junk and get away.” It’s just not as satisfying when it feels like the trick is ultimately on the audience.
Another complaint I have is that the scattered script seems littered with missed opportunities. One of the bigger misses that comes to mind is Harrelson’s twin brother, an obvious Matthew McConaughey impression from his True Detective costar. The character isn’t nearly as funny as Harrelson or the producers believe. He isn’t particularly memorable or necessary to the plot at all, but that’s not even his biggest offense. In a movie about magicians playing sleight-of-hand trickery, how in the world do we not have a switcheroo with the twins? That would justify his existence for the plot. I was shocked this never happened because it seemed so obvious. Why is he a twin? What does being a brother to Harrelson have to do with anything related to the plot? The script also gets overcrowded with antagonists, introducing Radcliffe and then bringing back Michael Caine and Morgan Freeman. The characters don’t so much compete with one another as they operate in separate spheres until a “twist” reveals more about their connections. Their agendas are too opaque. Radcliffe wants them to steal a super microchip so he can fully be “off the grid.” A man of his means shouldn’t have a problem with this. It’s not like he’s hiding out from the law for some kind of corporate espionage. It’s a convoluted reason to bring the Horsemen to his hiding spot in Macau. It’s just one in a long line of ideas that never feel fully developed. Even the magic set pieces don’t feel as fun. Seriously, one of the climactic magic set pieces is a human game of three-card Monty.
Director John M. Chu (G.I. Joe: Retaliation, Jem and the Holograms) has worked with action before and certainly knows his way around choreography, but he feels too hesitant this time. The action scenes are rare and the chase sequences are muted. Outside of the tricks, there isn’t a standout action scene in the whole movie. In the first film we had a pretty fun magic fight that was wild and surprising and loaded with small payoffs. In this movie we have a motorcycle chase that plays out as expected. We have a foot chase that plays out as expected. You have professional illusionists at your disposal; action set pieces should not play out as expected. The most fun sequence is fairly straightforward but easily the best developed, and that’s the Mission: Impossible-esque heist of the microchip that is outfitted onto a playing card. It’s also clearly the most visually inventive sequence as the Horsemen play a game of keep away and the camera literally at times tumbles into their clothes. I think what makes this easily the best sequence in the movie is because it’s moderately grounded, the stakes are explained, and the audience is in on the trick, enjoying all the flimflam obfuscation. It also means when there are complications to the plan the sequence generates suspense. When you don’t know what’s going on and don’t know when things are going wrong, or how they could go wrong, it’s hard to generate genuine suspense. Being involved in the action is much more fun.
The actors all seem on autopilot, falling back to the broader descriptions for their characters. Eisenberg is a smug and cocky. Harrelson is smooth and shrewd. Franco is awkward and insecure. Isla Fisher is replaced by the capable Lizzy Caplan (TV’s Masters of Sex) as the requisite Female Horsemen. She makes a good impression but part of it is that Capaln seems to be the only member allowed to be comedic. It feels like there are three straight guys to her comedy cut-up. She’s good but without variation it also starts to lose its appeal when only one character seems to be trying. Ruffalo (Spotlight) seems too often unrelated the Horsemen story as he discovers more info about his father. He’s the only character that actually has something of a storyline, though his playing of both sides and attempts to hide his role to the FBI is just another ludicrous element. I miss Melanie Laurent too.
Now You See Me 2 (how could this not be called Now You Don’t?) is a lackluster sequel that seems to have forgotten what made the first film the enjoyable caper that it was.
Nate’s Grade: C+
The first Neighbors was a pleasant surprise, a gross-out comedy with heart, cross-generational appeal, and a surprising degree of sincere attention to round out its cast and supporting characters. For my money it was a comedy that checked all the boxes. Now two years later comes a sequel that looks to repeat just about all the plot mechanics of the first except with a sorority replacing the fraternity. It looks like it’s checking the standard more-of-the-same sequel boxes. I was again pleasantly surprised, especially how little Neighbors 2 repeated the comic setups and jokes of the original (the malignant comedy disease known as Austin Powers Sequel Syndrome) and how much I still enjoyed these characters. Seth Rogen and Rose Byrne are now expecting their second child and trying to sell their house. They have to pass a 30-day escrow period without their buyers rescinding their purchase. That’s when Chloe Grace Moritz transforms the next door home into an off-campus sorority. She’s appalled at the gross and derogatory nature of fraternity-hosted parties and an unfairly arbitrary rule that sororities can’t host parties. She and a couple one-note stock fiends throw a female-friendly party house (Feminist Icon parties and bawling your eyes out to The Fault in Our Stars) where they won’t cotton to uncheck male ego. I was laughing throughout the movie with some big laughs at key points. Rogen and Byrne maintain a wonderful comic dynamic and the warring generations premise can still produce plenty of entertaining set pieces. The jokes can be sly and come at you from different angles, taking you be surprise (a “bun in the oven” joke had me almost spit out my drink). There are some things that don’t quite work, mostly how listless and self-involved the female coeds come across and some of their hollow arguments in the name of feminism. I guess equality does mean that women can behave as badly as men. Neighbors 2 replaces a bit of the heart of the first film with an excess of slapstick. There’s also a weird corporate synergistic tie-in with Minions that never quite settles. Still, Neighbors 2 is a satisfying sequel that reminds you what you enjoyed about the first film while not being indebted to what made it succeed.
Nate’s Grade: B
The first side-splitter of the summer, Neighbors is a bawdy comedy that has enough big laughs that you may miss how well it draws its characters, punctuating preconceptions. The premise is boiled down to family versus frat, as a pair of new parents (Seth Rogen, Rose Byrne) has a college fraternity, lead by Zac Efron, move next door. You expect the raucous humor, and there are plenty of well-conceived visual gags and payoffs. I did not expect to like the characters as much or see different shades of them. Rogen and Byrne are not yet ready to be official grown-ups, and their attempts to hang with the frat parties are hilarious as well as cringe-inducing. I especially appreciated that Byrne is given the chance to be just as careless and selfish as the men; there’s even a fight between husband and wife who is the Kevin James in their relationship. Byrne is terrific and deserves even more work that lets her cut loose and be in on the joke. Then there are the frat brothers who could easily come across as brainless hedonists, and many do, but Efron and his co-bro Dave Franco have an engaging relationship where they fear what happens next after school. The movie’s theme isn’t subtle (fear of growing up) but provides enough extra substance to make the film more than the sum of its jokes. And it’s quite funny. Rogen and Byrne have great chemistry, their angry riffs are often amusing, and the escalating tit-for-tat prank war is memorable and entertaining. Neighbors works on a cross-generational level; as a man in my 30s, I related to Rogen and Byrne’s plight but also their shifting concepts of what they consider fun that they once may have mocked in their younger years (“I love brunch”). Neighbors builds to a nice climax, the cast is uniformly funny, and with enough surprising shades with the characters, it satisfies the R-rated funny bone.
Nate’s Grade: B