Three strangers, riding a coach to damnation. A grizzled prospector, mining for gold. A sad young woman, traveling to Oregon. An incompetent bandit, avoiding hanging once, only to be executed elsewhere. A disabled man, forced to read Shakespeare for money. A singing cowboy, laughing as he guns down his foes. What do these people have in common? Nothing, apart from the fact that they populate The Ballad Of Buster Scruggs, a new Netflix anthology film, and the latest flick from the Coen Brothers. Is it a rip-roaring good time? Well… Continue reading
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Greg and Tommy are wannabe actors, trying to make it in LA. Unfortunately, no one will hire them, because, well, they suck. This depresses Tommy, who has been told by everyone that he will never make it, or if he does, it will only be as a villain. Greg tells him not to worry, that things will get better, and even suggests that they make their own movie. Tommy loves this idea, and writes a bizarre, Tennessee Williams style script, and sets about assembling a cast and crew. However, it quickly becomes apparent that Tommy, who wants to direct, and produce, and star in the film, doesn’t know what he’s doing. Will he prove them wrong? Will he and Greg deliver a cinematic experience for the ages? Well, you’ll just have to watch the movie to find out.
The Disaster Artist is a decently-acted, decently-written showbiz comedy. And it’s the sort of film that only true fans of the source material can appreciate. In case you couldn’t tell from my description, the movie documents the making of The Room, one of the most infamous “so bad it’s good” flicks of all time. Now, for people like me, who have seen The Room, and are familiar with all the in-jokes, and the writer-/director/star, Tommy Wiseau’s, odd accent and mannerisms, it’s fun. But for people who haven’t seen it before, like my parents, or my sister, it won’t be quite as enjoyable. And for people who aren’t in the film industry, or huge film buffs, there are cameos, and references, and lines of dialogue that just won’t make sense. So, for that reason, I don’t know if I can recommend it to you all. Is it enjoyable? Sure. Did I laugh? Absolutely. But I’m a screenwriter. I’m a film nerd. I’m the sort of person this is made for. Anyone else, I don’t know.
A good way for me to describe this is to talk about another movie; Tim Burton’s Ed Wood. Like The Disaster Artist, Ed Wood tells the story of a notoriously bad filmmaker, Edward D Wood Jr, who, in the 1950s, made some of the most iconically horrendous films of all time. But unlike The Disaster Artist, which just assumes you know The Room and are in on all the private jokes, Ed Wood goes into the main character’s world, tells you his story, and really humanizes him. You like him. You sympathize with him, because, even though he’s clearly not talented enough to make good films, he loves what he does, he’s loyal to his cast and crew, and he never gives up. Another, very significant, thing to consider is the fact that, in Ed Wood, you see the main character struggle. He doesn’t have money. He doesn’t have props. So a big question becomes, how can he make movies? In The Disaster Artist, Tommy is shown as having a massive personal fortune, so, already, some of the urgency is gone. On top of this, Tommy is shown as such a selfish, narrow-minded jerk that you kind of lose interest in him after a while. Then there’s the actual filmmaking to consider. The Disaster Artist is kind of ugly, with most of the shots being hand-held and shaky. Ed Wood, by contrast, looks amazing, being shot in black and white, and having some absolutely exquisite period costumes and decor. What I’m saying with all this is, there are ways to make showbiz films for the general public, and I don’t think The Disaster Artist does that. Make of this what you will.