Connect with us

Movie News

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

Published

on

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]


Movie News

Review: “Skyscraper” Lumbers With Thrills Pulsating and Passive

Published

on

Dwayne Johnson can work wonders on a lackluster script, but there’s only so much he can do in a Die Hard retread. There’s nothing inherently wrong with taking from such an iconic source and weave something thrilling out of that foundation. But when that irresistible Johnson charm can’t break through the towering theatrics, all we’re left with is a spectacle that is more big and loud than bright and exhilarating, never fully embracing the silliness of scaling a ludicrously built tower.

Johnson plays Will Sawyer with a unique backstory but little personality. He was once an FBI agent that lost his leg in a hideous hostage situation. Now he has taken a safer job as a safety inspector for China’s most massive towers due to open upper residential floors, bringing along his family for a working vacation. Johnson’s brighter smile and warm presence don’t come through as well this time, due in part to his character having a darker past and a tougher time getting around with an artificial leg. Fair enough, but when the tower is set aflame by gun-toting terrorists, I really wished that giddier Dwayne could come out and play, past some pleasing pulsations of his muscles jumping great distances and fighting the bad guys.

The setup to the grand showpiece of Dwayne clinging to windows and narrowly escaping explosions is fairly pedestrian, casually concocting all the elements and never harping on them too long, lest we be drowned in cliches. Chin Han plays the wealthy builder of the structure, concealing a secret and a MacGuffin that the villain want so badly they’ll cause a public scene to get it. The lead terrorist is played by Roland Møller with a sinister look and a Scandinavian accent, so blandly conceived it’s no wonder he works for someone higher up. Even more bland is his female cohort (Hannah Quinlivan), kicked to the curb of the tower excitement with her tight black outfit and sexy looking hair dangling off the side of her face. There’s also a cowardly English investor (Noah Taylor) and a long-time pal of Will played by Pablo Schreiber to fill out the twist fodder.

This is a film that really does require your brain to be shut off given how much lost potential and generic action-movie-isms crowd the screen. The first act is the biggest slog, holding the hand of the audience for everything that will follow. Will stresses to his wife that the easiest way to fix a smartphone is to turn it off and on again. I fully expected this to play a role in the climax but hoped Neve Campbell wouldn’t literally say those words. Chris Han shows off his holographic room that is little more than a hall of mirrors; seems like a good place for a disorienting shootout. As Hannah Quinlivan watches a hired hacker sabotage the tower’s fire suppression systems, the hacker states boastfully that only he can shut it down from that point forward. Take a wild guess what Quinlivan will do next when she hears this information.

Okay, but that’s all the plotty stuff and, let’s be honest, nobody is watching this picture for a stirring thriller about criminal bank accounts and tracking software. They want to Dwayne do stunts, and he delivers plenty, from jumping off a crane to swinging like Tarzan to escape a blaze. That’s all well and good, but we know Johnson is capable of these impressive theatrics, including some brutal fights that lead to much smashing. We also know he can be charming and has a great personality. So why is he strangely silent during these sequences? He seems to only talk when he has some forgettable one-liner to sling, making commentary on fixability with duct tape and telling himself he’s crazy for crawling along windows. This role feels as though it would be better suited for a beefy actor with more muscle than speech; not someone who can exude enthusiasm with more than enough wit to match his strength.

Neve Campbell surprisingly gets to do quite a bit more than cowering in corners with the kids. She takes charge in scenes where’s she’ll stab terrorists, smack them with car doors, and get in some good kicks and punches. While it’s fun watching Campbell take charge, I questioned where she learned all these stellar fighting skills for having previously been a surgeon. Perhaps Johnson inducted her in his action hero training program, coming standard with their marriage.

Skyscraper is sufficient as mindless summer entertainment but it does little more than that when I know it could do more. Johnson has the smarts to be a more charming hero than a mindless brute that can hoist himself across a building or literally hold up a crumbling bridge with little more than his buff arms. A massive tower with thousands of technological features could lead to an array of astonishing action sequences, but the most we see is a gripping dash through a burning wildlife enclosure. If there only a few more fun bits of dialogue, more outlandish stunts, and a braver embrace of the dumb, this big blockbuster could have been more audacious than obligatory.


Continue Reading

Box Office

Incredibles 2 Blast Box Office Records of Animated Film

Published

on

It may have been 14 years since the first Incredibles movie, but its impression has remained. The appeal was strong enough to make its sequel not only the #1 movie of the weekend but one of the most profitable animated film on its debut. For its premiere weekend, Incredibles 2 ranked in an astounding $180 million. This makes it one of Pixar’s best openings, easily dwarfing the previous film’s opening take of $70 million. With a considerable lack of family films in the next few weeks, expect Incredibles 2 to linger for quite some time for boasting such a powerful opening.

The rest of the debut films were left in the dust. Tag, an ensemble comedy based on a never-ending game of tag, only made $14 million, coming in at #3. The modern remake of blaxploitation classic Superfly premiered to a low $6 million debut. And falling outside the top 10 at #12 is Gotti, the based on true events drama starring John Travolta that made headlines for ridiculously low critic scores.

The drops for the weekend were somewhat predictable, with the superhero epic Avengers: Infinity War descending the least with a 26% drop. It’s also sitting at a total domestic gross of $664 million, edging closer to toppling Black Panther’s immense numbers of $699 million. It’s going to come down to the last few days in theaters to see if Black Panther will finally reach $700 million, considering its home video release and quickly-descending theater count. And, unfortunately, Hotel Artemis is pretty much a dud, descending 70% to place it well out of the top 10.

View the full top 10 below:

Incredibles 2 ($180,000,000)
Ocean’s 8 ($19,555,000)
Tag ($14,600,000)
Solo: A Star Wars Story ($9,081,000)
Deadpool 2 ($8,800,000)
Hereditary ($7,026,000)
Superfly ($6,300,000)
Avengers: Infinity War ($5,296,000)
Adrift ($2,100,000)
Book Club ($1,850,000)

Next weekend will find superheroes battling dinosaurs as Incredibles 2 weathers the storm of the upcoming summer blockbuster, Jurassic World: Fallen Kingdom. The sequel to Jurassic World, starring Chris Pratt and Jeff Goldblum, will be premiering in the same amount of theaters as Incredibles 2. And considering how insanely profitable Jurassic World ended up being, it’ll be interesting to see who takes the weekend and by how much.


Continue Reading

Movie News

Review: “Jurassic World: Fallen Kingdom” is Lost in its World

Published

on

The tagline for Fallen Kingdom revises the previous film’s tagline of “the park is open” to “the park is gone.” Okay, now what? With the global public now fearful of dinosaurs after the massacre at the park, it’s a whole new world of possibilities. Some activists want to preserve dino life, tycoons who want to buy them for military purposes, and governments that shrug in confusion at what to do next. All these aspects give the movie plenty to do with its prehistoric showcase; so much that it forgets to put a little heart and brain in with its dinosaur romp.

There’s an even greater distance from the human characters this time, lost in their doubling plot arcs and love of dinosaurs. Owen (Chris Pratt) and Claire (Bryce Dallas Howard) return from the last film but are now on a break in their relationship. Why they split up is briefly addressed, and their inevitable rekindling is even more rushed as they race towards the action. Clearly, Owen’s more defined relationship is with the raptor Blue, this time given even more background and tenderness. There’s rarely a moment of romantic tension between Pratt and Howard but place Pratt next to a wounded raptor, and you have some emotion fit for a blockbuster too tedious for tears.

In the battle between good dino doctors versus bad dino doctors, and eventually good dinos versus bad dinos, there are supporting characters that provide little support past quips and kills. There’s an intern duo of the meek screamer Franklin (Justice Smith) and the wise and snarky Doctor Zia (Daniella Pineda). They’re not quite young enough to fill that Amblin brand requirement, so there’s an English orphan of an aged, sage, and wealthy businessman (James Cromwell). There’s the cold Eli Mills (Rafe Spall) that is trying to build an empire off dinosaurs. You can probably guess his fate. And you certainly don’t need a crystal ball to see things are not going to work out for the violent poacher (Ted Levine) who can’t resist pulling the teeth out of captured dinosaurs.

If that seems like too many humans in a film about dinosaur action, worry not. Director J. A. Bayona crowds the screen with many species romping, stomping and chomping about. Too many that there’s a scene of prehistoric creatures crammed into a tight space, fighting for screen time. When they’re not caught in stampedes, there are a few impressive moments of adventure and terror. Easily my favorite sequence features the human heroes fleeing from a hungry dinosaur that corners them in a room flooding with lava, a shimmering wall of red and orange separating the two species. Another stellar shot is one where a newly bred hybrid dino slowly extends its claws to a girl cowering in her bed, horror movie style.

Part of what made the first Jurassic World so engaging was the simplicity of its adventure. A park full of dinosaurs goes awry, and there’s a mad dash for the exits, with some military involvement and cloning controversy peppered into the run. Fallen Kingdom has far too much going on that none it resonates enough to make Pratt’s tender touch during raptor surgery stick. There’s commentary on everything from government silence to environmentalism to war-hungry investors to cloning gone too far. But it’s all so rushed that several of these twists come crashing in at the last minute and struggle to strike with shock and excitement. The movie doesn’t have time to slow down for everything, leaving the secret villain of Doctor Wu (B.D. Wong) and the experienced Doctor Malcolm (Jeff Goldblum) in the dust.

Jurassic World: Fallen Kingdom has its moments of thrills that resonate enough to be pleasing popcorn entertainment, as with Chris Pratt narrowly avoiding a volcanic flood and a rich snob that gets a deserving munch by two dinosaurs. Sadly, it’s all so muddled and forced into theatrics that even Pratt’s reliable charm can barely make a dent in a script too dense with set pieces and cliches. I remember I enjoyed Jurassic World for being a pleasing throwback to Jurassic Park, returning that same wonder I had as a child. Fallen Kingdom replicates the familiar disappointing sensation of Park’s sequel The Lost World. It’s a mistake that I’m sure Doctor Malcolm would criticize for the producers who were so preoccupied with making a blockbuster sequel to the profitable Jurassic World, asking if they could rather than if they should.


Continue Reading

Find Us On Facebook

More

Movie News6 days ago

Review: “Skyscraper” Lumbers With Thrills Pulsating and Passive

Dwayne Johnson can work wonders on a lackluster script, but there’s only so much he can do in a Die...

Box Office1 week ago

Incredibles 2 Blast Box Office Records of Animated Film

It may have been 14 years since the first Incredibles movie, but its impression has remained. The appeal was strong...

Movie News1 week ago

Review: “Jurassic World: Fallen Kingdom” is Lost in its World

The tagline for Fallen Kingdom revises the previous film’s tagline of “the park is open” to “the park is gone.”...

Box Office1 week ago

Jurassic World Roars Back Into The Box Office, Incredibles Weathers Storm

2015’s Jurassic World proved to be the most successful summer blockbuster of that year, and it’s no surprise that Universal...

Movie News1 week ago

“Sicario: Day of the Soldado” is a Sullen Sequel, Hope So Separately

The world of Sicario is a dark and depressing one, placing a grimace of realism on an unwinnable war on...

Box Office1 week ago

Ant-Man and the Wasp Towers Over Box Office, Purge Plunders

4th of July weekend brought with it two new movies that performed rather well over the holiday, despite not being...

Movie News1 week ago

Jurassic World Squashes Sicario and Uncle Drew, Incredibes Stays Strong

With no massive tentpole titles to stand its way, Jurassic World: Fallen Kingdom continues to dominate the box office without...

Movie News1 month ago

Review: “Incredibles 2” is a Fantastic and Fresh Return to Form

Oh, how we waited so long for that sequel to Pixar’s The Incredibles, arguably their most exciting, inventive, and dynamic...

Box Office1 month ago

Ocean’s 8 Snatches Box Office Top Slot

Box Office Report June 8-10, 2018 Ocean’s 8, the all-female remake of the heist picture Ocean’s 8, made a strong...

Movie News1 month ago

Review: An All-Star Cast Makes “Hotel Artemis” Worth Checking In

We don’t know too much about the chaotic future of Los Angeles in Hotel Artemis. We know there is a...

Trending