The Disaster Artist


The Franco brothers – together again at last!

(2017) Biography (A24) Dave Franco, James Franco, Seth Rogen, Ari Graynor, Alison Brie, Jacki Weaver, Paul Scheer, Zac Efron, Josh Hutcherson, June Diane Raphael, Megan Mullally, Jason Mantzoukas, Andrew Santino, Nathan Fielder, Joe Mande, Sharon Stone, John Early, Melanie Griffith, Hannibal Buress, Judd Apatow, Bryan Cranston, Charlene Yi, Jessie Hannah Eris, Peter Gilroy, Lauren Ash. Directed by James Franco

 

There are three kinds of bad movies. There are the ones that are just bad, the ones you walk out of in the theater or more usually switch off from your television. There are the ones that are guilty pleasures – movies you know aren’t very good but you still like them anyway because they either speak to you in some way, there’s an actor in it you really like or you simply liked the vibe. Finally there are the “so bad they’re good” classics like Plan 9 From Outer Space or Terror in Tiny Town. One of the most recent examples of this is The Room.

It was made by writer, director and star Tommy Wiseau (J. Franco) who has a decidedly bizarre Eastern European-like accent but claims he’s from New Orleans. With long rock star hair matching his leather rock star pants, he has a look all his own, a kind of heavy metal marching band pirate.

In 1998 he met Greg Sestero (D. Franco) in an acting class in San Francisco. Greg wasn’t very good, unable to commit to his role. Tommy walked in and did maybe the most ham-fisted version of Stanley Kowalski screaming “STELLLLLLLLAAAAAAAH” in history. The two, both of whom have aspirations of making it in the business, become fast friends.

They end up moving to L.A. together and sharing an apartment Tommy has there. Tommy, who apparently has an unending source of money, is rejected by mega-producer Judd Apatow one night – well, he did interrupt his dinner – and decides that rather than waiting for a producer to see the clear star quality he knows he has that he needs to show it by making his own movie.

The thing is, Tommy knows absolutamente nada about making movies and while he hires a professional crew, he chooses to refuse their helpful advice and go resolutely down his own road. From time to time he turns into an actual dictator on the set, bullying actors and technicians alike and firing them from time to time without cause. Nevertheless, somehow the movie gets made and only Tommy seems to know that the movie is completely horrible and yet it will go on to become one of the first cult movies of the millennium.

Both of the Franco brothers are terrific in their performances but particularly James who not only nails Tommy’s bizarre accent and mannerisms but seems to inhabit his head too. Tommy as is pointed out in the movie and by reviewers lives on his own planet and everyone else is just visiting. James has gotten most of the acclaim (and the Golden Globe although surprisingly no Oscar nominations) but Dave deserves a little love too in a much less flamboyant role.

As a matter of fact, the cast is strong throughout as Franco likely cashed in a whole lot of markers to get lots of celebrity cameos – often as themselves – that help make the movie fun in spot-the-celebrity drinking game; you know the one, where you take a shot every time you see a celebrity other than the main roles. I guarantee you’ll be passed out drunk before the film is halfway over. Even given that you may well get a kick out of seeing some familiar stars from the recent past such as Melanie Griffith as a harried drama teacher or Sharon Stone as a harried agent. You’ll also see Seth Rogen at his non-stoner best and Alison Brie (Dave Franco’s real life wife) as Greg’s sweet girlfriend.

Although it shares a certain amount of DNA with Ed Wood, a similarly-themed film that critics seem hell-bent on comparing this to, they are completely different outlooks. Wood is a movie about mediocrity; this is a movie about perseverance. Tommy isn’t a particularly gifted or visionary individual and yeah if he wasn’t wealthy who knows if he gets to make a movie like this but one has to admire his tenacity, even if he occasionally turns into a dick in the process.

There is a question every critic needs to answer when reviewing a film like this – no, you don’t need to see The Room before seeing this and it really doesn’t matter which you see first. I would lean slightly towards seeing this first because you’ll appreciate the Wiseau original much more if you do.

This isn’t one of the best movies of the year but it is a very good movie that I can easily recommend to anyone. Sure it’s a little bit out there – maybe because it gets into the orbit of planet Tommy a little too closely – and some might think it a paean to bad movies – it’s not. Still, those who have ever loved a movie for no reason other than because it was nutty enough to appeal to them will find themselves finding common ground with this film.

REASONS TO GO: Both of the Franco brothers deliver the goods. In fact, the cast is really strong from top to bottom.
REASONS TO STAY: May be too off-kilter for some and some may think it celebrates bad movies.
FAMILY VALUES: There is a lot of profanity, some sexuality and more of James Franco’s butt crack than you may ever wish to see again.
TRIVIAL PURSUIT: This is the first film from A24 to be screened in the IMAX format.
CRITICAL MASS: As of 2/4/18: Rotten Tomatoes: 91% positive reviews. Metacritic: 76/100
COMPARISON SHOPPING: Ed Wood
FINAL RATING: 7.5/10
NEXT:
The Greatest Showman

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Magic Mike XXL


You're welcome, ladies.

You’re welcome, ladies.

(2015) Comedy (Warner Brothers) Channing Tatum, Joe Manganiello, Matt Bomer, Jada Pinkett Smith, Adam Rodriguez, Gabriel Iglesias, Kevin Nash, Elizabeth Banks Andie MacDowell, Amber Heard, Michael Strahan, Donald Glover, Stephen Boss, Rhoda Griffis, Jane McNeill, Ann Hamilton, Mary Kraft, Kimberly Drummond, Carrie Anne Hunt. Directed by Gregory Jacobs

Sometimes a movie is only as good as the audience you view it with. I can’t imagine seeing Magic Mike XXL in a room full of dour, jaded critics. They would never get what this movie is about on their own. What I did see this movie with was a room full of screaming, hooting, hollering women who would have thrown dollar bills at the screen had they thought of it.

And that’s just how Magic Mike XXL should be experienced. Channing Tatum returns as the titular male entertainer, now having hung up his G-string with a custom-made furniture business. His girlfriend from Magic Mike has left him and while he is doing what he wanted to do in the first film, he kind of misses the life. When Tarzan (Nash) calls, Mike comes running. The remaining Kings of Tampa – Dallas (Matthew McConaughey’s character from the first film) having absconded to Europe with the Alex Pettyfer character – are ready to close out their careers with a bang, at a male stripper convention in Myrtle Beach over the Fourth of July weekend. So Mike piles in to a fro-yo van owned by Tito (Rodriguez) along with Ken (Bomer), Tobias (Iglesias) and Big Dick Richie (Manganiello) for a road trip for bros.

So this becomes a road trip movie, with a stop in Savannah to visit Rome, a private club run by Rome (Smith)  in which female members get up close and personal with a gaggle of strippers whose members include Augustus (Strahan), Andre (Glover) and Malik (Boss). With Tobias having been injured in a van accident, the Kings are in dire need of an M.C. and ask Rome who declines. She and Mike have a history y’see…

After a stop in house of randy older women including Nancy (MacDowell), the mother of Megan (Hunt) whom they met in a Jacksonville bar and whose buddy Zoe (Heard) is the new romantic interest of Mike, in a kind of non-threatening platonic way they run into Rome who has changed her mind and it’s on to Myrtle Beach, the Redneck Riviera, where the boys will go out with a bang.

This isn’t nearly as serious a movie as the first Magic Mike was. That movie’s director, Steven Soderbergh, is still behind the camera but as a cinematographer this time. What we have here is more of a road movie that doesn’t take itself nearly as seriously. I will give you that the filmmakers understand their target audience as the women in our audience lost their minds nearly every time that the men started dancing or stripping. However, it was surprising to me that most of the women in the audience seemed to be fonder of Manganiello than of Tatum, although after one simulated sex/dance sequence featuring the star, one audience member exclaimed “I think I need a cigarette.”

\I will also say that the movie does look at the bond between men in a way not usual to Hollywood, which tends to view male bonding as a macho thing done over guns, cars and violence. The Kings of Tampa are all pretty sensitive guys who admire and respect women rather than viewing them as objects to be taken to bed as conquests and then cast aside. They view what they do as a kind of therapy, giving their clients something they need – not just a sexual release but adoration as well. I think most women’s fantasies are about guys like these, sensitive but sexy, handsome and hot as well. What woman wouldn’t want to be adored by guys like these?

The plot is kind of threadbare and I was left wondering if I’d seen this in a room full the aforementioned dour and jaded critics would I have liked this movie as much? Probably not. Because the women in the audience were having such a good time, I ended up having as good a time as well and that’s something to consider. The movie is in many ways not nearly as good as its predecessor but in many ways better – it gives its audience exactly what they want and that isn’t such a bad thing at all.

REASONS TO GO: Has heart as well as tush. We end up caring what happens to these guys.
REASONS TO STAY: Extremely lightweight and disposable. More of an experience than a movie.
FAMILY VALUES: Language, male butt nudity, sexual situations and some drug use.
TRIVIAL PURSUIT: Holdridge and Saasen not only co-starred and co-directed the film but also co-wrote it based on their own experiences.
CRITICAL MASS: As of 7/19/15: Rotten Tomatoes: 64% positive reviews. Metacritic: 60/100.
COMPARISON SHOPPING: Little Miss Sunshine
FINAL RATING: 6/10
NEXT: Finding Bliss