Johnny is a successful banker who lives happily in a San Francisco townhouse with his fiancée, Lisa. One day, inexplicably, she gets bored with him and decides to seduce his best friend, Mark. From there, nothing will be the same again.
When a drifter befriends a quirky mortician, an unlikely business partnership is formed. Paranoia soon develops, however, and both men are forced to come to terms with the fragility of friendship and loyalty.
A small boy discovers a mystical power as a child. He is then separated from his childhood girlfriend. He grows up to be a computer scientist who is hacking into the most secret national ... See full summary »
In San Francisco, we follow Johnny, a man who has a girlfriend, Lisa, and also his best friend, Mark. Lisa has been cheating on Johnny with Mark and Johnny doesn't know! Will Johnny ever find out? Will Mark still be Johnny's best friend?Written by
According to Greg Sestero, Tommy Wiseau intended for the film to contain a subplot in which Johnny was revealed to be a vampire, due to Wiseau's own fascination with the creatures. Sestero recounts how, at the outset of production, Wiseau tasked members of the crew with figuring out a way to execute a sequence in which Johnny's Mercedes-Benz would lift off from the roof of the townhouse and fly across the San Francisco skyline, revealing Johnny's vampiric nature. Wiseau eventually decided to drop the subplot after learning that there was no practical way to film the flying car scene on the production's budget. See more »
Freshly-lit candles are beside the bed during the second love scene. However, Johnny and Lisa had been drinking for several hours before they went upstairs, and they were supposed to be so drunk they could barely stand. See more »
Hi, babe. I have something for you.
What is it?
Just a little something.
[Playfully hides a package behind his back, then presents it to Lisa. She opens it and pulls out a red dress]
Johnny, it's beautiful. Thank you. Can I try it on now?
Sure, it's yours.
Wait right here.
[grabs Johnny's tie and kisses him]
I'll try it on right now.
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There are more than enough reviews of this movie that tell you in wonderful ways how absolutely perfect the awfulness of "The Room" is. What I found terribly interesting when I was brought to a Los Angeles midnight screening of this movie, besides the fact that this damn thing was on five screens at once, is that this movie provides the moviegoer with the rare opportunity to absolutely mock terrible cinema.
I see several movies per year, often from the major studios, that I long to shout at in disgust. "The Room" is terrible to the point that the audience has agreed to do just that. It is liberating and hilarious and downright therapeutic to shout, when a character who has never been established suddenly appears on screen, "Who are you?"
Wiseau shows up at these Los Angeles screenings and revels in what he seems to think is adoration, almost psychotically not in on the joke.
You do not go to "The Room" to see a movie. You go to get even with that screen that promises entertainment and often disappoints. Finally, you get to mock mediocrity. It's enjoyable and liberating. How lucky is Wiseau that he gets rewarded for being awful? At least he is a good sport about taking the abuse.
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