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Review: ‘The Disaster Artist’ is a Genius and Silly Story of Bad Filmmaking

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If the midnight screenings at the local arthouse theaters are anything to go by, The Room is the 21st century’s Rocky Horror Picture Show. A week before the press screening for The Disaster Artist, there was a special theatrical showing of The Room that came with the note “Party Atmosphere.” If you’ve ever been to the screening of a cult movie, you know the type of movie-going experience I’m talking about. Audiences dressed up in costumes from the film cheerfully quoted nearly every hilariously-delivered line of bad dialogue and hooted and hollered with every scene of unintentional comedy. It’s a film so audaciously bad that it’s somewhat charming for its earnest and placed director Tommy Wiseau on the map, though not at the exact destination he wanted.

the disaster artistBased on a biography of the film’s production, The Disaster Artist follows the relationship of amateur actors Greg Sestero (Dave Franco), an average all-American guy, and Tommy Wiseau (James Franco), a lanky, long-haired guy with a European accent of indeterminate origin. They first meet at an acting workshop, proving they’re both terrible in front of the class. Greg, however, admires Tommy for his fearlessness to get up on stage, scream “Stella!” repeatedly and nearly destroy the set in his rage. There is an undeniable tenacity and ease to Tommy’s acting, despite the accent and his inability to read jokes or references. It doesn’t matter to Greg; he wants to learn that fearlessness. Tommy teaches Greg promptly by making him perform a reading aloud in a diner, weirding out the patrons. The two actors are still awful, but they’re awful together.

Tommy lets Greg into his life as they become partners in acting, but only to a certain degree. He gives Greg strict instructions not to ask too much about him, including how old he is, where he was born and where his money comes from. His stock answers: Greg’s age, Louisiana and none of your business. Greg doesn’t question it much considering how ambitious and wealthy Tommy is about his lifestyle. They become inspired by James Dean to visit the location of his death and Tommy offers to drive there at that very moment. The two of them aspire to be great actors in Los Angeles, and Tommy already has a downtown apartment paid for. Nobody will hire them for a movie and Tommy decides to write, direct and finance his own film, The Room.

Tommy has all the makings of a classic bad movie director for his lacking moviemaking knowledge, ambitious spirit, and bottomless bank account. Nobody is entirely devoted to Tommy’s vision. Script supervisor Sandy (Seth Rogen) tries as hard as he can to pull back from exploding on Tommy’s inefficient and crude tactics for shooting his film, but others do not fair better. Tommy is a mercilessly egotistical and cruel man on the set. He complains about his beautiful actress having a pimple, refuses to turn on the air conditioning and sets up his own personal toilet in the studio.

What’s most shocking is his awareness of what he is doing from learning by the examples of others in Hollywood. Greg pulls Tommy aside to tell him that he’s been treating his staff like garbage. Tommy retorts that some of the best directors would mistreat their actors, referencing how Alfred Hitchcock would throw real birds at his actors to get them in character. Greg stresses that Hitchcock was a jerk for doing so, but it’s hard to deny Tommy’s logic considering how prolific The Birds became. It’s this rocky road to fame that leads Tommy to believe he is doing the right thing when everyone seems to be against him for all the right reasons.

James Franco melts into this role almost seamlessly putting on the act of the aloof Wiseau. He embodies the voice and mannerisms so well that there’s a natural grace to his comedy as opposed to punching up the portrayal for laughs. Tommy can make audiences crack up with little more than his accent passively making jabs, and James hits all the right beats to make every with Tommy a real treat. Dave Franco is also in top form as Tommy’s right-hand man with an awkward eyebrow raising higher as he squirms in the passenger seat of this wild ride. He encourages and pushes Tommy to keep at it, but will still find himself being betrayed out of the director’s jealousy and ego. We feel for Greg as he starts to see the real monster his roommate indeed is when it comes to snatching those dreams they always talked about.

The Disaster Artist is a great comedy not merely for laughing at Wiseau’s failure of a film, but also his appreciation of what he has truly made. At the premiere screening for The Room, he’s dismayed to see so many people laughing at what he considered drama until Greg points out how happy it made others. It’s a remarkable legacy for a filmmaker who bought his way into being a movie star and came out as something he never expected. He would attend sold-out screenings where he’d sign autographs, toss around a football and embrace the comedic fame made possible by lovers of bad movies. James Franco’s direction and portrayal of Wiseau is stellar not so much because we pity the man but that we celebrate his insane vision and the wild ride it took for him to become an icon. Wiseau doesn’t need our sympathy; he already has our attention from his presence, our money from his sold-out shows and our laughs from his timing and acting. What more could an egotistical filmmaker with dreams of stardom want?

As a bonus, the film’s pre-credit sequence features a side-by-side comparison of actual footage from The Room versus the scenes that were staged for The Disaster Artist. The timing and camera angles are unfathomably accurate, and these sequences serve as the most magnificent tribute for having the Franco brother star in a remake of Wiseau’s film. I don’t think ever laughed as hard at The Room before, viewed here in a weird stereo vision. And just in case you weren’t already rolling on the floor laughing, the post-credit scene features Wiseau himself as a different character who comments on Franco’s voice, making for one of the best cameos and laughs I’ve had all year.

[author title=”About the Author” image=”http://popstermedia.com/wp-content/uploads/2015/07/mark_mcpherson-300×221-150×150.jpg”]Movie Reviewer Mark McPherson has been all about movies since working at a video store in his youth. His talents range from video editing to animation to web development, but movies have always been his passion to write about.[/author]


Box Office

Another Astounding Weekend at the Box Office for Avengers: Infinity War

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Box Office Weekend 5/4/18-5/6/18

Not the least bit surprising, Marvel’s Avengers: Infinity War has dominated the weekend box office with another massive gross. In its second weekend, the grandest superhero ensemble to date brought in $112.4 million. This brings its domestic total up to $450 million, and its worldwide take well over $1 billion. Time will tell if it has the legs, however, to hold its own against Marvel’s other superhero epic this year, Black Panther. Considering Black Panther is still in the top 10, and has almost passed $700 million domestic, it’ll be a close race between the two Marvel movies.

Of course, the success of the Avengers is due in no small part to this being a rather sparse weekend of premieres appearing in fewer theaters. Braving the Marvel storm to come in at #2 was the romantic comedy remake, Overboard, starring Eugenio Derbez and Anna Faris, making $14.7 million domestic. And if that’s the gross of the #2 spot, you can imagine how lower the other films are. Tully, a new comedy Jason Reitman and starring Charlize Theron, came in at #6 with a domestic gross of $3.1 million. Further down at #10 is the new David Tennant starring thriller, Bad Samaritan, making $1.7 million for the weekend.

There were expected dips all around with no huge surprises, but many of the successful films that have hung around are growing a considerable gross. John Krasinski’s A Quiet Place had the lowest drop and is currently sitting at a robust $159 million domestic total. Ryan Coogler’s Black Panther has already blazed many records, but it’s only $7 million away from clearing $700 million domestic.

See the full top 10 box office results below.

  1. Avengers: Infinity War ($112,474,000)
  2. Overboard ($14,750,000)
  3. A Quiet Place ($7,600,000)
  4. I Feel Pretty ($4,900,000)
  5. Rampage ($4,620,000)
  6. Tully ($3,186,000)
  7. Black Panther ($3,146,000)
  8. Truth or Dare ($1,885,000)
  9. Super Troopers 2 ($1,815,000)
  10. Bad Samaritan ($1,758,000)

Next weekend, Avengers will be battling against the Melissa McCarthy starring comedy Life of the Party and the Gabrielle Union starring thriller Breaking In. Considering that Life of the Party will have the most significant theater count, McCarthy has the only real shot at being the first film to knock the superhero giant down from the top 10, though it’s doubtful of the Avengers hype will have died down by then.


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Box Office

Life of the Party and Breaking In Dominated by Avengers

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Box Office Report 5/11/18 – 5/13/18

In its third weekend, Avengers: Infinity War is still going strong with a beefy #1 spot that has yet to be bested. Marvel Studio’s latest superhero epic amassed $61.8 million for the weekend, soaring its total domestic gross up to $547 million. The film has managed to make more than Marvel’s other 2018 hit, Black Panther, in the same amount of time, but whether it’ll reach the same domestic gross remains to be seen. With the oncoming superhero film next week and a Star Wars film following, it’ll have some fierce competition.

The two newest films this week slid comfortably into the slots just below. Life of the Party, the new back-to-school comedy with Melissa McCarthy, predictably hit the #2 spot for being a female-centric comedy released on Mother’s Day weekend. While it didn’t exactly take the cake, the film did make $18.5 million to earn its spot during another Marvel cinematic snowstorm of a weekend. Just below it was the new thriller Breaking In, grossing $16.5 million, which is not too shabby for a film debuting in only 2500 theaters.

There were surprisingly low dips all around in the top 10. The smallest drop was for A Quiet Place, still hanging in there as the surprise horror hit, earning $6.4 million to boost its domestic total to $169.5 million. It’s not too surprising that the most significant drop was for Black Panther, grossing only $1.9 million. It’s a predictable drop considering the movie has been out for thirteen weeks, is already available to buy digitally, and will be out on DVD and Blu-ray by this Tuesday. It’s still a considerable feat for a film that has domestically grossed $696 million so far.

One film worth mentioning that snuck into the top 10 is RGB, the documentary on Ruth Bader Ginsburg, expanding for the weekend into 180 theaters. That’s very impressive for such a small film to conquer the #10 spot on Mother’s Day weekend with a $1.1 million gross.

View the full top 10 list below.

  1. Avengers: Infinity War ($61,817,000)
  2. Life of the Party ($18,500,000)
  3. Breaking In ($16,500,000)
  4. Overboard ($10,100,000)
  5. A Quiet Place ($6,400,000)
  6. I Feel Pretty ($3,710,000)
  7. Rampage ($3,380,000)
  8. Tully ($2,240,000)
  9. Black Panther ($1,932,000)
  10. RGB ($1,165,000)

Next weekend, Infinity War will be going up against a real contender with Deadpool 2, the sequel to the Ryan Reynolds starring superhero comedy that broke records in 2016. Also vying for the box office will be the dog comedy, Show Dogs, and the aged female-oriented comedy, Book Club.


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Review: “Deadpool 2” is Reheated Chimichangas That Mostly Hold Up

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Deadpool is third-wall breaking anti-hero that feels more needed than ever in the current crop of amassing superhero films. His self-aware satire made his 2016 film a hoot with commentary on the messy timelines, the lack of casting, and even mocking Ryan Reynolds himself. And while his sequel film does maintain that fast-paced and joking nature that made the character a breath of fresh air, it’s mostly the same brand we’ve come to expect from the merc with the mouth.

All the familiar scenes are present, even with the same bits of dialogue repeated from the previous film. There’s an opening fight where Wade “Deadpool” Wilson (Ryan Reynolds) narrates how this isn’t a superhero movie for the kids. There’s an extended bit where he trots around the X-Men headquarters where there are little to no mutants present. Hugh Jackman isn’t present in the film, but he always seems to find his way into the script in one form or another. Deadpool even rides up to the finale in a taxi and mentions chimichangas once again. While these segments still garner a laugh, there’s a lingering notion with each smirk that this superhero is running out of originality.

Ryan Reynolds (Deadpool) and Karan Soni (Dopinder) in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.

One of my biggest complaints about the previous film was that there needed to be more actors for Deadpool to play off so that his fourth-wall narration doesn’t overwhelm the screen. The sequel features the opposite, amassing too many characters for Wade to rib that they struggle to work their way into the script. Cable (Josh Brolin) is a soldier of the future that travels back in time to kill a mutant kid and becomes bitterly frustrated with Deadpool being an obstacle. This would’ve been enough for a buddy picture, but the film keeps stuffing in heroes. Deadpool takes a liking to Cable’s target of the overweight teenage mutant Firefist (Julian Dennison), but the kid is so cocky and stand-offish that their chemistry doesn’t have much time to develop. Not when Deadpool must also ally himself with Domino (Zazie Beetz), a hero whose superpower is plot armor. And while Colossus and Nega return from the previous film, their roles are so standard that they naturally become lost in the shuffle.

There’s a tightrope of typical superhero staging and self-aware silliness that Deadpool walks once more, and there’s a larger wobble this time around. There’s a bitter pathos to push Deadpool forward in his plight, but it comes with knowledgable spite for last year’s Logan pulling the same strings, of which Deadpool curses outright. A change of pace for the character is his desire to embrace the X-Men philosophy of no killing, but Wade still plays fast and loose with this logic, counterintuitive of his journey to better carve out a family.

Ryan Reynolds stars as Deadpool in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.

And, wow, does the diversity angle feel so much like bullet-point lip-service, where the black Domino has no flaws, and the lesbian Nega has no character. It’d be nice to have a film where Deadpool coordinates a diverse collective, but everything is so tightly packed with little room to breathe that the inclusivity feels more like a quota, trying to appease everyone without exploring any one angle deeply. Let me know more about Domino’s tragic past without wedging it in at the last minute. Give Nega some better lines considering that her girlfriend, whose only interactions are saying hi to Deadpool, has more dialogue than she does. You wouldn’t even know Firefist has a problem with the perceptions of his weight if he hadn’t brought it up in conversation.

Yes, Deadpool 2 is still funny, especially with one of the most hilarious mid-credit sequences in recent memory. But most of the laughs are familiar ones, reiterating previous jokes and not landing as many original ones past the update of commenting on the current state of superhero cinema. It’s a bit sad that a film this satirical of the genre doesn’t realize it’s coming down with a severe case of sequel-itis, throwing far too many characters at the screen and hardly balancing any of them. There is levity and life in Deadpool, but it needs to start going that extra mile of absurdity in its awareness if it doesn’t want to become one of the lesser superhero franchises it loves to mock so much.

Deadpool (Ryan Reynolds) and Colossus in Twentieth Century Fox’s DEADPOOL 2. Photo Credit: Courtesy Twentieth Century Fox.


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