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.
Joe Marshall and Frank Washington are two police detectives who must stop the ruthless activities of the Katana, a renegade Yakuza gang composed of violent and sadistic killers who want to lead the drug trade in Los Angeles
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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
While writing one scene with Lisa and her mother, Tommy Wiseau had Lisa talking on the phone with Claudette, and it ended with Lisa walking her mother to the door because he forgot they were on the phone. See more »
In the first love scene, Lisa takes her hair out of a clip. In the next shot, it's back in the clip. In the next shot, it's out again. 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.
See more »
In the DVD and theatrical versions of the film, when Johnny throws his TV out the window in the climax, it is obvious that it is daytime when the TV smashes to the ground despite taking place at night. However, in the Blu-ray transfer, a partial "day for night" filter was added. See more »
I've never in my life been more entertained by a film that has absolutely NO redeeming qualities. Unintentionally inept characters engage in progressively bizarre and unnatural interactions which seem to peak at erratic and unexpected intervals. The awkwardness of the actors is framed by strange pauses, jarring scripts and incredibly bizarre production techniques - there are ample 'deer in the headlights' moments, in which you can feel genuine sympathy for these people who are obviously so caught up in Tommy's strange and dominating creative control that they've failed to see any better.
Other filmmakers play with similarly surreal concepts - David Lynch for example - but this film lacks anything resembling artistic refinement, insight or self awareness placing it far from comparison. It's kind of like watching a train crash in slow motion - random, incoherent, disastrous, accidental and ultimately painful. The sense of alienation emanating from this film places the audience extremely far from being able to relate to what's happening on screen, which leaves a lot of room for uncontrollable laughter given the right circumstances.
The camera work and production techniques would not be out of place in many daytime soap operas, nor would the script and plot, but there is an undefinable quality which separates this movie from the sense mediocrity often found in such shows and instead casts it deep into the abyss of tragically bad film making where it will be forever trapped along with Wiseau's artistic integrity. This really is a new frontier.
It is truly awful, but I cannot recommend it enough.
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