The Room (2003)
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I have the pleasure of driving through Hollywood every day and still seei ng the billboard for the film up and Tommy glaring at me as if to say, "I telled you I could make movie." For those looking for a photo op, it's on Highland, a few blocks south of Sunset. I know that tommy took out an ad in the trade papers asking "For Your Consideration", I only wished that I could see him on stage accepting an Academy Award. It would be well earned. Rumor has it that he has a vampire film in the works... let's hope so... I only hope I get the opportunity to work on it. I can only hope that The Room becomes a cult classic with midnight showings. I'll put my tux on and bring a football. Perhaps I'll stand up for a Q&A afterward and tell the stories I have so fondly tried to burn from my memory. My other dream is for the DVD. There are 100's of hours of behind the scenes footage out there. The camera for the behind the scenes material was always recording. ALWAYS! It will be awesome to see what took place on our set. I hope he puts it out there. I know I would buy several copies for all my friends and family.
Whether it's the made-up-by-fifth-graders dialogue, the deer-in-headlights performances, or the positively icky sex scenes (love those smushed rose petals on the chubby girl's back), you'll be howling from start to finish.
This movie has already amassed a cult of people who know what to yell at the screen and when; for a movie that's being self-distributed, this rates as some kind of crap-movie miracle.
Keep an eye out for the pointless insert shots of San Francisco, which give the idea of time passing even when it doesn't: one party scene, for example, features eight of these cut-aways.
You really can't believe how terrible THE ROOM is, but at least it's entertaining, albeit in ways that the lazy-eyed, odd-bodied, English-mangling auteur never imagined. Not to be missed.
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.
It is also funny how many people actually see this as a real movie, and take the acting, story, and dialogue seriously. It's a sad testament to the state of intelligence of some, but that doesn't detract from the movies awful redemption.
There was no way this was made as a 'black comedy' on purpose. The ineptness present in ALL aspects of the film could only come about through an attempt to put Tommy's own high-school angsty experiences (probably) on tape. When the reviews trashed the movie, he pulled a Paul Ruebens "I meant to do that". The denial of the films obvious serious beginnings add even more hilarity. Tommy, we are laughing at you, not with you. Thank you for that.
The Location - The film is set in San Fransico, as we are reminded several times throughout the film, with good reason. San Fransico represents the city that gave birth to free love - and this is subtly juxtaposed with the theme of the film, that love is not free. Johnny's apartment has a spiral staircase indicating that the path to meaningful congress isn't straight forward, as evidenced by Lisa's liaison on the stairs. The many scenes on the roof top actually represent reaching a higher level of understanding. The transcendental if you will.
The football - the football represents Lisa, a woman who is prepared to be passed from man to man, and indeed those that are not prepared for her suffer a literal downfall. It is symbolism and beautiful metaphor.
The dress - this is Johnny's subconscious awareness of Lisa's true reality expressed in Jungian terms. He is bestowing on her the role of the Scarlet Woman.
The rose - When Johnny places the rose on the bed next to Lisa he is saying " I am replacing one prick in this bed with several pricks" How true he is!
The white car - this is in fact Johnny's white steed. Symbolism for him being the good guy.
The repeated scene - don't believe all you read. The lovemaking scene is repeated, not for budgetary reasons or the actress' dislike of Tommy; rather it indicates that the lovemaking has become boring and literally repetitious.
The Tuxedos - these symbolise Johnny's identity loss and awareness of mass consciousness.
The Psychologist - forsaking the R.D Laing school of thought, he is unable to identify the existential angst of the other characters and after his symbolic downfall plays no further part in their lives.
Chris R - this is in fact a scathing critique of the American Health Care system. Denny is obviously using him to get extra supplies of the Ritalin he so badly requires.
The alcohol - the Scarlet Woman Lisa tempts Johnny away from the path of virtue by intoxicating him with the noxious substances of two cultures - whiskey and vodka, representing the intoxicating combination of their pairing.
The names - Johnny, the 'everyman', a name used in countless films in the 40's and 50's. His everyman status is reinforced by the florists failure to recognise him until he removes that which alters his perception of the world. His sunglasses. Lisa represents 'everywoman'. Notice how the other characters have lovers called Betty and Elizabeth. Claudette - literally 'Claw Debt' - a woman obsessed by her own and others financial situation.
Genetic determinism - Lisa was born out of a loveless relationship and is therefore doomed to repeat such behaviour. Her mother's breast cancer represents the transmission of this through suckling.
The spoons - one is reminded of Heideggers contemplation of the representation of boots in art. The spoons are there for aesthetic rather than utility purposes. This shows that one does not always get 'one's just desserts' ( Get your coat, you're fired - Ed)
Let's first discuss Mr. Wiseau's expert crafting of dramatic tension. Denny, the slightly mentally retarded 20-year-old, wants to watch Johnny and Lisa make sweet love. Denny also frequently acts like a brain-damaged Golden Retriever in that he continually wants to play catch with a football, even though everyone only stands 6 feet apart. Denny eventually gets involved with drugs and has to confront the hate-filled Chris-R (and there is no logical reason why the character has a hyphen in his name so don't ask). Johnny nobly comes out of nowhere to provide Denny salvation, and then this plot point is totally forgotten.
The best part of the movie is Mr. Wiseau's acting. He is leagues ahead of other contemporary actors. He is on par with DeNiro in Raging Bull, Nicholson in Easy Rider, and Brando in Streetcar. He delivers his lines as if he IS Johnny, the All-American guy who is trying to stay on the wagon and can't get that promotion at work. He clearly has been well-trained in Method Acting. His Croatian-Serbian-Norwegian-Klingon-Mongolian-Yugoslavian accent is barely noticeable when he delivers lines such as `You're tearing me apart, Lisa' and `I treat you like a princess but you stab me in the back.' You feel Johnny's pain as he becomes a regular MacGyver and hooks up a tape recorder that is able to record for 24 hours straight. His laugh (ha-ha-ha) comes off as natural as can be. When you think JOHNNY, you think All-American guy. The fact that Mr. Wiseau is over sixty years of age and may be on some kind of horse tranquilizer for much of the movie is not an issue.
In the trailers for THE ROOM, it is mentioned that Mr. Wiseau's directing and writing evoke Tennessee Williams, and a truer statement has never been made. You can feel the passion when Johnny transforms himself into Frankenstein and proceeds to destroy his room, moving at a very slow speed. It is as if he is saying to the viewer, `Stella!!' except Mr. Wiseau does not need to say it verbally. He says it through his emaciated skin which has seen better days and through his jet-black hair which is clearly his natural color. Even though the Room takes place in San Francisco, it is as if Blanche DuBois is saying to us, `Johnny, you are a real American, because you play football and say ch-ch-chicken.'
On the musical front, the shifting from a mysterious moody orchestral score to straight-up R&B ably shows Mr. Wiseau's ability to blend different styles musically in order to create a unified mood in his movie. On the sound front, the boom operator clearly did an excellent job as half of the lines in the beginning of the movie are dubbed in later, even though the filming takes place in a quiet room with no extraneous noise.
With regards to editing, Mr. Wiseau deftly uses cutaways to 30-second-long shots from different vantage points in San Francisco. He seems to be saying to the viewer, I hope you weren't interested in the dialogue, because now you will have to sit through 30 seconds of the same shot of the Golden Gate Bridge you've seen 10 times already, before we get back to the dramatic tension you were longing for.
Other attention to detail includes varying dates on how long Johnny and Lisa have been together (5 or 7 years), the switching from the day shots to night shots and then back to day shots on the same day, the fact that all of the men are dressed in tuxedos and decide to play football even though there is no justification for why they should be dressed in tuxedos, and using the exact same shots in the second love scene between Johnny and Lisa that are also used in the first love scene.
Overall, Mr. Wiseau has proven himself to be among the top-rank writers, directors, actors, editors, gaffers, love maker, action stars, and best boys of his generation. He has shown the ability to take any aspect of filmmaking and transcend it. He is able to take monkey poop and turn it into a well-polished turd. I hope to see many more films from Mr. Wiseau in the near future, and I hope that all of them will have Mr. Wiseau acting as well as new and better performances from the guy that played Denny (he rocks!!). To Mr. Wiseau, I say L'Chaim, and let's drink to much greater Cinema to come!!
And welcome to the wondrous world of "The Room". This is a world from the breathtaking lack of imagination of Tommy Wiseau, the least appealing man ever to walk this Earth; a world where people play football in tuxedo, have the same conversations again and again due to their 5 minutes memory, make babies by humping belly buttons in the middle of rose petals and finally enter and exit places without any other reason than to do just that.
Indeed, this is probably one of the worst film ever made but as opposed to any other cinematic turd, this one is hardly ever dull (except for the "sex" scenes maybe), the aimless plot driven through one stupidity to the other by the on-par grammar-school writing delivering gems galore ("I'm so happy I have you as my best friend and I love Lisa so much", "I'm tired. I'm wasted. I love you darling"), the final broth served by inept performances (for want of a better word) from its cast. This is truly the most inspired disaster ever committed to screen.
But what I find the most interesting about the "The Room" is its maker Tommy Wiseau. "The Room" is a window into his confused psyche because make no mistake folks: Tommy IS Johnny. And what are we told about Johnny? Well that "he's very caring about the people in his life", provides for his girlfriend, "is very sensitive", "doesn't drink", "has a very secure situation" and has nice pecs. Quite a catch wouldn't you say ladies? On paper possibly... Because everything about his persona seems phoney: his accent which is a mix of anyone's that ever walk this planet whom couldn't speak English, his over-sized suit, his dark, long and way too greasy hair, his geriatric body posture, his re-shaped and re-muddled face and, above all, his completely dry and humourless laughter (and not in a sarcastic way either). Such a penchant for dissimulation is downright creepy and I must admit, the physical repulsion he exerts on me is the stuff fascination is made of.
The fact that "The Room" has gathered such a cult following is no surprise. In the oh-so jaded times we're living in, celebrating the mediocre, talentless and pointless have become all the rage with the recipient of the mockery confusing infamy with fame. There is something both pathetic and a little unsettling about how Tommy Wiseau regards the cynical interests his movie has attracted for a genuine recognition of his talent.
Mind you, I suppose Mr Wiseau can take pride in the fact that "The Room" will go down in Cinema history. But as what?
Lisa has become inexplicably dissatisfied with her fiancé Johnny, confiding to her best friend Michelle and her mother Claudette that she finds him boring. Lisa seduces Johnny's best friend Mark, and they begin an affair that continues throughout the film, even as Mark more than once tries to break it off. As the wedding date approaches and Johnny's clout at his bank slips, Lisa gets closer to leaving Johnny for Mark. When Lisa throws Johnny a surprise birthday party, she flaunts her affair in front of Johnny, and Johnny and Mark get into two altercations. Johnny has also attached a tape recorder to the telephone, recording an intimate call between his future wife and Mark. Now that Johnny is "fed up with this world", feeling like he cannot trust anyone, he pulls the ultimate punishment in self loathing to himself but a true gift to the audience.
This movie is just incredible that it was made, I didn't think it was possible to make a film so bad. It's like it's a new genre, just a bad movie. Sub plots get brought up out of no where in this movie and never get brought up again. Characters get brought up and again never mentioned. The script, story, characters, editing, setting, everything was just wrong with this movie. Also Tommy Wiseau's name is mentioned 6 times before the film even begins and his character is of course "perfect" that everyone should just love him. Lisa, who is very odd looking, is constantly called "sexy" which either has a new definition or is ironic. Mark is a doof ball that probably thinks that penguins are fish, because he's just that stupid. Denny is a perverted 15 year old who wants to watch Johnny and Lisa make love and constantly says how in love with Lisa he is and how he loves Johnny. Also there is so many pointless love scenes, football scenes, gift giving scenes, lines, if there was a drinking game on the pointless scenes for this film, you'd die of alcohol poisoning by the end of this movie. I don't know, it is one of those films you have to see to believe, but I can tell you one thing for sure, if Tommy Wiseau thinks we're laughing with him, he should check that we're actually laughing at him.
Released in 2003, "The Room" would have faded into obscurity had it not, like most of Ed Wood's films, possessed the right mixture of sincerity, god-awful ineptness, and unintentional humour. Within months the film had become a cult classic, playing in packed Los Angeles theatres to legions of screaming fans.
What makes the film hilarious is Tommy Wiseau, a talentless and egotistical auteur, who wrote, directed, produced, financed and starred in this six million dollar flick. The classic self-important European artist, Wiseau sees himself, not only as a serious actor, but a serious writer and director. He thinks he's written a Shakespearean plot, when in reality this is a childish love triangle. He thinks his dialogue flies like Tennessee Williams, but in reality it is worse than that offered by the Disney Channel. He thinks his direction rivals Cassavetes, but in reality...well, he was so confused, he shot the film on both HD and celluloid cameras, mounted side by side because he didn't know which camera was which.
And yet there is something captivating about Wiseau's performance. His accent is odd, he approaches each word from a strange angle, he puts emphasis on the wrong syllables, he structures sentences in off kilter rhythms, he inserts punctuation in the wrong places and has his dialogue branch off in weird tangents. Listening to Wiseau speak is like watching the English language being re-invented. It should be god awful, but it's strangely interesting. Like David Mamet, his intonations, his verbal tempo, is almost balletic.
Whilst all the actors in the film are bad – soft-core porn bad – Wiseau imbues the film with a kind of transcendent badness. He's not bad, so much as he is unaware of the rules of good. He's so earnest, so confident that his performance, that his art, is the epitome of quality, that his ineptness renders the whole production farcical.
With regards to the film's plot, there are themes of cancer, betrayal, drug abuse, and infidelity, but it's all handled in an awkward way akin to a kindergarten play. At times whole lines of dialogue are dubbed over, often with no regard to the actor's lip movements. Like Ed Wood's "Plan Nine From Outer Space", characters are also oddly replaced by other actors half way through the film, no explanation given. Throw in countless shots of the Golden Gate Bridge, an epically stupid ending, some hilariously badly written dialogue – "Leave your stupid comment in your pocket!", "Chocolate is a symbol of love!", "What kind of money?", "I definitely have breast cancer", "I needed money so I bought drugs!", "I'm fed up of this wur-urld!" - and you have the funniest "so bad it's good" film since Ed Wood.
7.5/10 – Comedy gold. Snippets from this film can be seen at the following links:
As you can see, Wiseau's performance is strangely captivating. He has been described as "Borat trying to do an impression of Christopher Walken playing a mental patient". How apt.
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.
After hearing about the film on NPR, my interest was peaked. Soon after, I discovered that there were several clips of the film available to view on Youtube. After watching the rooftop conversation between Johnny and Mark, and an excerpt of the tuxedo-clad football game, I was sold. Living over 2000 miles from Los Angeles, I knew my only option was to purchase the DVD, which retails for about $11 on Amazon. Later that week, I found myself staring at Wiseau's curiously droopy face and preparing, at long last, to watch "The Room." Words fail to describe my experience; I was immediately hooked. Now, several months later, I've watched the film close to ten times, and I can say without hyperbole that it has become more fascinating and hilarious with each viewing. If you're reading this and you're on the fence about whether or not to go to a screening, or to spend the $11-$15 for the DVD, fear not you will regret nothing. In fact, you'll begin to wonder how you lived for so long without seeing "The Room." Well, what are you waiting for? "DO YOU UNDERSTAND LIFE??!!"
Could "The Room" be the greatest film ever made? Writer, director, producer and star Tommy Wiseau thinks so. The rumor is he submitted the film to the Academy for consideration as best picture. Sadly, he was turned away. "The Room" may not be the best picture of the year, but is probably the single greatest film of all time, at least from a purely entertaining point of view.
Yes, the love scenes are recycled. Yes, some of the dialog makes no sense. Yes, there are countless subplots that go nowhere. Yes, one of the main characters disappears halfway through and is replaced by another guy. Yes, the music is bad. Yes, yes, yes. But somehow, the more things that seem to be wrong with this film -- a film that Wiseau assures us was "meticulously" made -- the better it gets.
I was laughing so hard, I was in pain within fifteen minutes and cried. All of the "Oh, hi Mark" lines, and the epic "you're tearing me apart" were too much for me. I ended up spewing my guts, and several bottles of Coors Light, all over the place. The intensity of the awesome in the picture just blew me away.
I have a new favorite film, and that film's name is "The Room". What other film could make me want to play football in a tuxedo or sing the "Full House" theme song? Only one film has that power... for the full effect, you really need to see a midnight screening of this film with the audience participation. Or at the very least, download the RiffTrax and laugh all over again... this film could be watched fifty times and still not begin to get old.
What make the Room superior to all of the 'so bad it's good' films is the fact that it's (like the trailer said) a riot. You see unlike other films that have 1-2 unintentionally funny scenes and the rest is a bore the Room is a non-stop extravaganza. Literally every scene has something wrong. Every scene has one quote that will stay in your mind forever. Because I forgot to mention that The Room is also the most quotable film of all time. The Godfather? Pulp Fiction? Star Wars? No. Just no. The Room beats the all.
At the end The Room is the worst and best film of all time. It's a paradox film.
So anyways, here's my final take, starting with the negatives:
-The Room suffers from too many sex scenes. The first one is hilarious and disgusting (Does anyone know what's up with Wiseau's body?). After that, the sex scenes are boring, but still disgusting. The only good part is the original music, which is hilarious and addicting.
-The Room also suffers from too many Claudette/Lisa scenes. These are really boring and the conversation is always the same... i.e. Lisa complaining about her relationship with Johnny.
-Peter is a lame character.
And then the positives:
-Any scenes with the following characters are stellar: Johnny (Of course). Denny. Chris R (They tease us with only one scene with Chris R). Doggy (Again, a one scene tease). Mike (Watch his face).
-This movie is highly quotable. There are too many great quotes to even mention.
-The message of the movie "How can you ever really trust anyone?".
That's about it. Do yourself a favor and watch The Room. I only wish I lived near LA so I could attend a screening and meet Tommy or some of the cast.
When it comes to plot in this movie, there are so many holes it's like Swiss cheese. I would try and explain the plot but there is barely one to begin with. I lost count on how many scenes that were in this movie that were absolutely pointless to the plot.
If you are just starting to watch some of the worst films ever created there might not be a better place to start than the Room. It is worth all the hype it receives, simply a movie you have to see to believe.
Called the worst movie ever made by many, what I think people mean is that "The Room" is one of the most entertaining bad movies ever made. It's certainly not the worst; just try watching a movie like, say, "ThanksKilling" for an example of a movie so bad that it's unwatchable. No, "The Room" belongs to the same category as something like "Battlefield Earth," films so earnestly made yet so poorly executed that they become more entertaining than they would have been had the filmmakers been able to make a legitimately good movie.
One can't really provide a description of "The Room" that will come anywhere close to approximating the experience of watching it. Tommy Wiseau, the film's legendary and strange creator, plays Johnny, who's been dating Lisa for something like six or seven years and who he refers to throughout the entire movie as "my future wife." The problem is that Lisa hates Tommy and doesn't want to marry him, despite bonking him repeatedly. It never seems to occur to Lisa that she could just tell Johnny she doesn't love him anymore, so she instead complains to everyone who will listen to her how bored she is by him and even makes up stories about him getting drunk and beating her. No one seems especially bothered by this prospect, perhaps because Lisa is such an unpleasant person that we don't understand why Johnny wants her in the first place. O.k. maybe it's not so far fetched, since Johnny isn't the sharpest knife in the drawer, and his prospects for female companionship that he doesn't have to pay for are probably limited. He clearly is drawn to Lisa's formidable intelligence, because he thinks her suggestion that they invite a bunch of friends to a birthday party she plans to throw for him (despite hating him) is "a great idea," which I guess is if the alternative idea is to invite a bunch of random strangers. And Johnny isn't alone; at said birthday party, she suggest that they should all eat some cake, and the party goers act like that's an idea no one's ever had at a birthday party before.
Complicating matters is Johnny's best friend Mark, who gives a brilliant discourse on gender politics in which he categorizes all women as stupid or evil. Given the women in this movie, he may be on to something. Lisa has the hots for Mark, and they pick the least comfortable spot in the apartment (the bend of a spiral staircase) on which to consummate their passion (though I'm not sure if anything was actually consummated since Mark appears to be humping Lisa's knees). Mark seems like a bit of dim bulb himself, since every time thereafter that Lisa initiates sex his first question is "What are you doing?"
The most mysterious character in the movie is Denny, an orphaned kid who lives God knows where but who pops in all. the. time. and who we're told thinks of Johnny as a father figure, though, given the fact that the first scene with Denny finds him wanting to watch Johnny and Lisa have sex, he might have wanted to shop around a bit more. Denny is always carrying either a basketball or a football and acts like he's twelve despite the fact that the actor playing him is about twenty-five. Once in a while, some combination of guys will actually play ball with him, which involves standing about three feet from each other and gently tossing the ball around like it's an explosive device. After some ball tossing on the roof of Johnny's apartment building, and then some more ball tossing in a cramped alley, I started to wonder whether or not San Francisco had any parks these guys could go to, and then later in the film when they actually go to a park, I wondered why they didn't go to one sooner.
My favorite character is Lisa's mom, who walks into every situation and expresses disbelief that she's surrounded by dipsh*ts, a sentiment I shared. Nothing phases this woman, not breast cancer, not drug dealers, not random people using her daughter's apartment for a booty call. Whatever's going on, she's just so over it.
And another supporting character is Johnny's psychologist friend, who looks like the bald Nazi from "Raiders of the Lost Ark" and lurks in the background, lit by the camera man like a serial killer.
Every scene in "The Room" feels like the intro to porn sex, no matter what combination of people are present. There are actually a couple of soft core scenes, both featuring Johnny and Lisa, though it actually only counts as one scene since the second one uses the EXACT SAME FOOTAGE as the first. Needless to say, they're not very erotic unless you find weirdly veiny men of an indeterminate age erotic, or are turned on by the sight of rose petals mashed into a woman's back like giant ticks.
I don't know why "The Room" is called "The Room." There is a room in the movie, in which almost all of the action that doesn't occur on the roof takes place. The set decorator clearly thought that Johnny and Lisa are the kind of people who decorate their apartment with giant candles and bowls of fruit, which comes in handy when Denny needs to eat an apple as a way of managing the sexual frustration that occurs when Johnny and Lisa aren't up for a menage a trois.
Maybe he should have played some football in the alley instead. Hah- hah! Hah-hah!
Grade: F (for not having even a minimum understanding of the art of narrative filmmaking)
Grade: A+ (for entertainment value)
Words simply cannot effectively describe this movie, and it's not worth any type of time or effort to attempt to seriously analyze it from a critical point of view. The movie is hopeless and utterly pointless, literally every aspect of it is terrible. Only ridiculous hyperbole is appropriate:
Just imagine the best movie you've ever seen, now imagine the complete opposite, the total inverse of that movie in every aspect, to hopefully visualize something even worse than the worst movie you've ever seen. Now imagine the worst movie you actually have seen. Pretend they mated, the fictional inverse movie and the actual horrible movie, and that their offspring was a premature abortion which only inherited the absolute worst negative qualities from its parents. Now take that failed abortion, and imagine something ten times as horridly disturbing and terrible as it: "The Room" is even worse than that.
Tommy Wiseau is pure genius. He has written, produced, and directed the best movie ever made, and I don't understand why the Oscars ceremony wasn't canceled in order to fully recognize the art that is "The Room".
Before I saw this movie, my life was going nowhere. I was living on the streets with no money and no reason to go on. But then I got the chance to see "The Room", and I instantly felt enlightened. I got the confidence to do something with my life. I owe everything to Tommy Wiseau.
Every aspect of this film is flawless; the character's are all lovable, the set is believable, the screenplay is phenomenal. The whole movie is a message to us all; that love is blind.
So please, if you ever get the chance to see this masterpiece, watch it. Then watch it again. Then think to yourself, have I really been living my life without the words of Tommy Wiseau to guide me? Then watch it again. And to all the haters of this movie, keep your stupid comments in your pocket! The Shawshank Redemption itself is no competition for this film.
As far as I'm concerned, this is the best movie ever. That's a promise.