Tommy is supposed to be a really weird person in this one not the "normal" banker Johnny and that is why he is so good in this movie !
Weird. Tommy is a better actor than Greg in this movie.
Holy shit does this get artsy at times. There's a lot going on here and though it isn't hard to make sense of it I still was asking myself "What did I just watch?"
Regardless, the cliffhanger literally but not really left me dying for more.
At the screening I attended, this was billed as a work in progress, so it would feel churlish to give it a full-on review. Still, it’s an interesting concept, with writer/star Greg Sestero talking about his desire to find a role where Tommy Wiseau could actually excel. I don’t know if the film ever really gets there or overcomes Tommy’s inherent limitations, but played right, there’s a certain Lynchian unsettlingness to Wiseau, and while it’s not a high bar, the film uses that side of Wiseau’s particular energy to the best effect of any of his on-screen appearances.
There’s also some interesting cinematography and moody imagery and atmosphere. It’s a clear Hitchcock homage with damning secrets and shadowy figures and threats of murders and mysteries with a moral dilemma at the center. I hesitate to say too much more given the inchoate status of the film, but at worst, the movie is an interesting experiment, trying to build a legitimately good movie around Tommy Wiseau, even if it’s a little lumpy or logy in places. A worthwhile exercise, with the “Part 2” promised at the end of our screening seeming all the more bonkers and Lynchian in its presentation.
I saw an unfinished screener of this film, which divulged a work in progress that I nevertheless think will not be far from the finished product. Sestero plays the lead as a vagrant man, whose past leads him to convince a mortician, as played by Wiseau, to give him employment. Even though the plot is unclear and thin, the references to the film "The Room" and Wiseau's wonderfully weird acting brings this film some kind of life, Sestero's uncharismatic portrayal and the loose direction, the poor screenplay and some strange casting choices makes for a somewhat entertaining and funny, but ultimately forgetful film. Sestero told me the follow-up will probably be made in 2018.
Review by LineageBlockedParent2023-05-17T17:57:05Z
(517-word review) After the mediocrity that was Police Academy, there was only one reasonable thing to do on a moral and noble level: fulfill your life's duty to exist by watching real cinema. And so, here it was, waiting there, tranquil and paradisiacal, with a godlike presence and aura that you can't help but be drawn toward against your every fleshly impulse.
Casuals trying to cheat the system will watch films like The Godfather and its sequel, The Shawshank Redemption, Schindler's List, 12 Angry Men, Citizen Kane, Inception, Forrest Gump; more recently, the likes of Parasite, Joker, Once Upon a Time...in Hollywood, Portrait of a Lady on Fire, Everything Everywhere All at Once, The Whale, and so on: all these other so-called "real cinema." But they don't see the truth; it escapes them because of their casualness, even though it's right before them.
What is the truth? Best F(r)iends: Volume 1 is the truth; it is real cinema. It's why aliens haven't invaded yet because they're terrified of it: it eludes their highest levels of comprehension and understanding. It's the same with the casuals but to a more significant degree: they've convinced themselves that "their" idea of real cinema is genuine and accurate when, in actuality, it's a survival mechanism set in place because they're not capable of seeing the reality.
It begins with the masterful line, "Are you going to stand out there, like a Statue of Liberty?" There's never been this good of a start to a film. The countless nuances of that line, combined with the sublime delivery by Mr. Wiseau, propelled cinema to new heights, and that was only the start of the film.
The phenomenal story and writing by Greg Sestero were only the tip of the iceberg; it goes deeper into the depths of everything we thought we understood. Each bit of dialogue was honed to perfection with the best of care and sublime delivery, causing a state of euphoric, profound completion to engulf you, fully and thoroughly: but also punches you in the liver; you can't forget that part.
Furthermore, the soundtrack and the score by Daniel Platzman and Justin MacGregor, including Farhan Umedaly's cinematography, further cemented this masterpiece into Civilization's Hall of Fame.
Praise be: Tommy Wiseau and Greg Sestero, masters of their craft on a level nobody else has reached. Their collective and individual prowess knows no bounds, for they are not of this world anymore; they have ascended to a plane beyond corporeal restraint.
No duo has accomplished what they've accomplished, nor will there ever be one. No individual in entertainment history has given an acting performance at their level. The lack of awards that should be tossed at them without a care in the world, as if they're the epitome and example to follow in the stripping discipline, is staggering, and everyone responsible for this deplorable inaction, this heinous crime, needs to be brought to justice.
This was/is a masterpiece of epic proportions that only Tommy Wiseau and Greg Sestero could conjure into existence. And for that, I say, "Hello! Hello!" to the sky because they've ascended.