The fact that The Disaster Artist exists as a full-blown award season movie should be evidence enough that we're through the looking-glass when it comes to ironic/unironic appreciation for all things meta. The film is based on the making of The Room (2003), a noteworthy "trash" movie that's captured the imagination of many a film nerd with years of sold out midnight screenings and pot smoke filled, dorm room viewings. Centered on the friendship between Greg Sestero (D. Franco) and one man side-show Tommy Wiseau (J. Franco), The Disaster Artist recreates the atmosphere of chaos, ineptitude and bizarreness that plagued the production and inadvertently made the film such a cult hit.
I first saw The Room under supposedly ideal conditions – a viewing party of a few friends all of whom, like me, came in with fresh eyes. I wouldn't recommend it for those looking for a good movie (obviously), but if you're curious about grasping the appeal of trash cinema The Room is a surefire introduction into that world. For unlike something like Plan 9 from Outer Space (1959) or Birdemic: Shock and Terror (2010), which are special-effects laden sci-fi films which cartoonishly under-deliver, The Room is pure, concentrated badness from pre-vis to post.
On the other hand, The Disaster Artist, based on the novel of the same name by the real Greg Sestero, is a fairly polished, Hollywood biopic whose only real trick is it actively rouses Wiseau fans while selling itself to the masses as the anti-La La Land (2016). It's a neat little trick and it largely works thanks in part to James Franco's unhinged performance as the delusional Tommy.
Yet for those giddy over the prospect of The Disaster Artist hitting the Award circuit with the energy of something like, say Ed Wood (1994) or Sunset Boulevard (1950); yeah, no. I'm afraid despite its subject matter being red meat to Academy voters; this film is far too modest in its approach and too bogged in the minutiae of the famed, plagued production to be anything more than a really, really good fan film.
Which is kind of a shame; had the film truly delved into the darker side of Tommy's obsession, really reveled in the dark comedy, or at the very least made Greg's naivety a little more tethered to reality, The Disaster Artist could have edged out Swimming with Sharks (1994) in its nihilistic takedown of Hollywood. Instead it vies for a mercurial, funhouse mirror sense of irony where audiences don't know whether their laughing at/with the situation, the characters' reaction to the situation or the actors portraying characters that are inundated by the situation. It thinks it's being subversive but just like Tommy Wiseau himself it's mostly just hard to pin down.
But regardless of whether we're laugh at or with The Disaster Artist, at least we're all laughing - you can thank all the seasoned comedic talents that pepper the film for that. Much has been said about James Franco's performance (which is great in a Best of SNL kind of way). But the comedic timing of Seth Rogen, Paul Scheer, Jason Mantzoukas and Zac Ephron not to mention the inclusion of Megan Mullally, Alison Brie, Hannibal Buress and Bob Odenkirk all keep the film entertaining and even charming in a sense. Also, not to get too insider baseball on you but Josh Hutcherson as Denny was a stroke of genius.
So, what ends up happening when the usual suspects turn a niche inside joke into "big Hollywood movie?" Well, exactly what you'd expect I suppose. If the intention of The Disaster Artist was to be a cross between Boogie Nights (1997) and The Master (2012) (as James Franco had declared of the script) then I'm afraid to inform you it doesn't quite reach that level. But I suppose that's just another layer of comedic irony. For much like Tommy Wiseau himself, this film aimed for the moon and still ended up among the stars. Only time will tell if this film will have the same staying power I doubt it.
I first saw The Room under supposedly ideal conditions – a viewing party of a few friends all of whom, like me, came in with fresh eyes. I wouldn't recommend it for those looking for a good movie (obviously), but if you're curious about grasping the appeal of trash cinema The Room is a surefire introduction into that world. For unlike something like Plan 9 from Outer Space (1959) or Birdemic: Shock and Terror (2010), which are special-effects laden sci-fi films which cartoonishly under-deliver, The Room is pure, concentrated badness from pre-vis to post.
On the other hand, The Disaster Artist, based on the novel of the same name by the real Greg Sestero, is a fairly polished, Hollywood biopic whose only real trick is it actively rouses Wiseau fans while selling itself to the masses as the anti-La La Land (2016). It's a neat little trick and it largely works thanks in part to James Franco's unhinged performance as the delusional Tommy.
Yet for those giddy over the prospect of The Disaster Artist hitting the Award circuit with the energy of something like, say Ed Wood (1994) or Sunset Boulevard (1950); yeah, no. I'm afraid despite its subject matter being red meat to Academy voters; this film is far too modest in its approach and too bogged in the minutiae of the famed, plagued production to be anything more than a really, really good fan film.
Which is kind of a shame; had the film truly delved into the darker side of Tommy's obsession, really reveled in the dark comedy, or at the very least made Greg's naivety a little more tethered to reality, The Disaster Artist could have edged out Swimming with Sharks (1994) in its nihilistic takedown of Hollywood. Instead it vies for a mercurial, funhouse mirror sense of irony where audiences don't know whether their laughing at/with the situation, the characters' reaction to the situation or the actors portraying characters that are inundated by the situation. It thinks it's being subversive but just like Tommy Wiseau himself it's mostly just hard to pin down.
But regardless of whether we're laugh at or with The Disaster Artist, at least we're all laughing - you can thank all the seasoned comedic talents that pepper the film for that. Much has been said about James Franco's performance (which is great in a Best of SNL kind of way). But the comedic timing of Seth Rogen, Paul Scheer, Jason Mantzoukas and Zac Ephron not to mention the inclusion of Megan Mullally, Alison Brie, Hannibal Buress and Bob Odenkirk all keep the film entertaining and even charming in a sense. Also, not to get too insider baseball on you but Josh Hutcherson as Denny was a stroke of genius.
So, what ends up happening when the usual suspects turn a niche inside joke into "big Hollywood movie?" Well, exactly what you'd expect I suppose. If the intention of The Disaster Artist was to be a cross between Boogie Nights (1997) and The Master (2012) (as James Franco had declared of the script) then I'm afraid to inform you it doesn't quite reach that level. But I suppose that's just another layer of comedic irony. For much like Tommy Wiseau himself, this film aimed for the moon and still ended up among the stars. Only time will tell if this film will have the same staying power I doubt it.