Special thanks to Christopher for passing along his hilarious trading cards. Watch out, Topps!
We’ve got an exclusive glimpse of the Talking Johnny Bobble Head production line! Looks like an army of figures will be invading the holiday season. Oh, Hi Best Gift ever!
Where have cult classics gone?
While midnight movie buffs go through the audience interaction motions with decades-old reels of “The Rocky Horror Picture Show” and “This is Spinal Tap,” newer attempts at finding this generation’s version of those phenomena have mostly failed. Richard Kelly’s bloated, forced “Southland Tales” failed to attract positive attention, and the most recent cult success dates back to 1998’s “The Big Lebowski.”
These movies, rescued from obscurity by devoted audiences, were stale before writer/director/producer/actor/editor Tommy Wiseau brought “The Room” to packed screenings.
A Room Of His Own
Getting To Know Cult-Film Auteur Tommy Wiseau
Riddled with crappy overdubbing, confusing dialogue, pointless supporting characters, embarrassing sex scenes, and plot holes galore, the 2003 ﬁ lm The Room is an unequivocal disaster. But thanks to the relentless determination of its enigmatic writer/director/producer/star Tommy Wiseau, it’s also enjoying new life on both coasts as a hot ticket that is single- handedly reviving the lost art of the audience-participation midnight movie. The ﬁ lm has been playing for six years at the Laemmle Sunset 5 Theater in L.A., where a word-of-mouth fan base embraces it with a zest reminiscent of The Rocky Horror Picture Show: dressing as characters, reciting dialogue verbatim, and throwing plastic spoons (in response to a framed picture of a spoon that appears in multiple scenes). And now New York has gotten into the act, selling out monthly midnight showings where even comedian and Room fan David Cross once ap- peared dressed as Wiseau.
From the Washington Post!
By Alex Baldinger
Washington Post Staff Writer
Friday, November 27, 2009
As a film, story and depiction of basic human interaction, Tommy Wiseau’s “The Room” is a train wreck of almost incomprehensible proportions: Whole scenes are out of focus, while others are repeated in their entirety; characters appear without introduction, while others vanish without explanation; and the unfortunate cast engages in behavior that few would consider typical.
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Nathaniel Jones gives us the greatest musical experience since Les Miserables!
Tommy Wiseau is a living legend.
His debut film “The Room” was first released in 2003 on Sunset Boulevard, at the Laemmle Sunset 5 Theater, advertised as a drama in the vein of Tennessee Wiliams’ work. Moviegoers responded positively. It was released on DVD in 2005, made its network premiere this year as the annual Adult Swim April Fool’s Day joke and just concluded a brief run at Ciné. With such a following, how can the film be anything but brilliant?
It is a brilliant film, but not in the way Wiseau intended.