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Franco, who’s absolutely hysterical as the brooding, deluded Wiseau, leads a parade of familiar faces...delivering a winning, Ed Wood-esque blend of comedy and pathos that could very well earn its own cult status.
Aside from the undercurrent of pathos, it’s James Franco’s impeccable comedic timing that is the film’s ace in the hole.
The Disaster Artist — a new film about the making of The Room — is not only the rare example of a genuinely funny biopic, but a subtle meta-commentary on the state of cult filmmaking.
From laugh to laugh — and there are many — you might question the target of the jokes, but that’s often because The Disaster Artist rarely works on one level: There’s meta humor, self-referential gags, and human reverence paid to the earnest pursuit of a Hollywood dream. Such are the layered joys of this exuberant — if surprisingly conventional — buddy comedy about the making of the worst movie of all time.
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If The Disaster Artist does anything, it will likely inspire folks to seek out The Room. Not only would that make Tommy very happy, but it will make them want to watch Franco’s Tommy and further appreciate what a brilliant job he did in recreating the experience for its fans.
The Disaster artist is obscurest hilarity set to a filmmaker's struggle, all linked to James Franco's transformative performance as the mythical Tommy Wiseau.
Franco’s performance as Tommy Wiseau is a thing of beauty. Without ever inflating Tommy’s achievements or his talents, and while still having a great deal of fun with his peculiar behavior, he makes him into what he always wanted to be: A true cinematic hero.
The dazzle of the cast and the targeted in-jokes never take away from the film’s core messaging about the importance of believing in one’s own ability as an artist.
Somehow, in accentuating Wiseau’s weirdness, Franco overlooks his soul.
Franco has a fan’s affection for Wiseau’s mannerisms, but if his objective was to lionize him as an outsider auteur à la Ed Wood, then he’s failed. The idea that The Room’s strange and bitter qualities are very personal and rooted in some deep pain is obvious to anyone who’s seen the film—except, it seems, to the star and director of this movie.

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