Have you watched ‘SpaceWorld’, the brand new animated pilot starring ‘The Room’s Tommy Wiseau and Greg Sestero? Maybe you haven’t and this is the first time hearing about it… but maybe you have and want to know more! Either way, this is a great episode! I sit down with ‘SpaceWorld’ creator Brock Laborde, publisher Octopie’s Lon Strickland and Greg Sestero and talk about the weird as hell but really hilariously fun project! What is it like working with Tommy? Where did the idea for ‘SpaceWorld’ come from? After writing the successful ‘The Disaster Artist’, what has Greg been up to? And what is the charm of absurd cinema and animation and how is ‘SpaceWorld’ something new in a landscape filled with referential and blue humor? Plus… Brock and I share our love for The Herculoids! Enjoy!

Subscribe to Geekscape on iTunes!

Follow Jonathan on Twitter and Instagram!

Join the Geekscape Forever Facebook Group!

Visit Geekscape.net for more Geekscape goodness!

James Franco’s intimate examination of a talent-less auteur-turned-cult legend debuted as a “work in progress” selection at this year’s SXSW Festival. And although I avoided the screening while there, mostly due to the fact that I had never seen The Room before, as rumblings of its sharp-comedic effectiveness grew, so did my anticipation for the film’s release. The Disaster Artist has found its way to select screens, and while the effort is certainly a solid watch, it’s also a far cry from the comedic gold we’ve come to expect from Franco and his crew of usual suspects.

When a shy and timid actor named Greg (Dave Franco) stumbles across the fearless performer Tommy Wiseau (James Franco) in an acting class, he immediately reaches out to him in hopes of doing a scene together for class. Yet, as their bond grows, Greg learns of Tommy’s mysterious financial security and they venture to L.A. together with visions of making it big. But as the harsh realities of Tinseltown begin to set in, Tommy and Greg quickly discover that, if they want to be in a “real Hollywood movie”, they’ll have to make it themselves.

What can be said about The Disaster Artist’s source material, The Room, that hasn’t been said already? The king of the “so bad it’s good” genre, Tommy Wiseau’s hysterically awful production proves to be a worthwhile central focus for director/actor James Franco. He tackles the strange and mysterious aura of Wiseau with immaculate precision. You can sense his passion and commitment for the project, which should be fully appreciated, but Franco’s performance also suffers from his usual bouts with hyperbole, even when portraying someone as outrageous as Wiseau. In fact, there were a few moments throughout the film where I caught myself favoring James’ brother, Dave Franco’s, onscreen work over his own Golden Globe and SAG-nominated performance. And from a pure story standpoint, The Disaster Artist struggles to get off the ground running. You’re forced to wallow through a stale first act before they finally jack-up the energy with the behind-the-scenes filming of The Room. To the movie’s credit, however, it does improve with every passing minute and concludes in a truly satisfying fashion. The Disaster Artist isn’t nearly as funny as I had hoped, but it’s still a strong and respectful homage to an unskilled visionary who somehow managed to make cinematic history.

GRADE: 4/5

For more reviews, trailers and movie lists visit MCDAVE’s host site

This weekend I saw The Disaster Artist and while I think it was a well made movie with good dramatic and comedic moments, it didn’t speak to me like it has for many others. It just felt like it wasn’t made for me which is weird because of my love of “So bad its good” cinema but not that weird since I’ve never seen The Room.

Yes, you read that correctly, I’ve never seen The Room. The man who hosts a podcast specifically about watching garbage films has never seen the so-called grand-daddy of them all. Many people find this shocking and to a certain extent I suppose I do too. Allow me to explain why I’ve avoided this film for over a decade.

The first big reason is because I’ve met & hung out with Tommy Wiseau on two different occasions. Neither time did I find him fun or charming. He struck me as an egotistical and cruel diva. This personality trait I believe they captured quite accurately in The Disaster Artist. The sheer fact that he is praised as an important cult figure has always rubbed me the wrong way because of these two interactions and for that reason I’ve always avoided the film.

I will say that it’s possible that I caught him on bad days. I have one friend who HATES Mick Foley because of a bad experience the only time he’d met him. Everyone else I’ve ever encountered who has met Foley has had nothing but kind words about him. So I’m open to the possibility it could be wrong place, wrong time. However if you can track down the episode of Geekscape from approximately 6 years ago you’ll see a lot of my issues.

The second reason is how I first really “saw” the movie. It was between my first and my second encounter with him. My friends showed me a very long (approximately 40 minute) episode of Nostalgia Critic about the movie. I’m not a fan of nostalgia critic, he seems like a good guy but his comedic style doesn’t really work for me. It’s basically the same reason I prefer the slightly less screamy We Hate Movies and Flop House podcast over How Did This Get Made. Angrily yelling everything doesn’t equal comedy for me.

Shortly after this, I would encounter someone (friend or stranger) quoting this movie at me damn near every week. It almost reminds me of how for a few years I just couldn’t watch Napoleon Dynamite because I had been overwhelmed with “your mom goes to college” and “numchuck skills” quotes.

Which leads into my final issue and really the main focus of this. There’s no way to say it without coming off like a hipster douchebag so I’ll just say it; It’s the most Mainstream version of “So Bad It’s Good”. It’s the Rocky Horror Picture Show of “It’s So Bad It’s Good”. It’s the Smells Like Teen Spirit of 90’s countdowns. It’s The Beatles. It’s all of those things.

That doesn’t make it a bad thing. I love all of those things. I adore the Beatles, Smells Like Teen Spirit is still a great song and Rocky Horror Picture Show is a blast. My problem is that So-Bad-It’s-Good films are a passion of mine. They’re something I adore, I love showing them to people, I love tracking them down and owning them.

Imagine if you encountered someone who exclusively listened to The Beatles, and only the Beatles, but claimed to be a music expert. Imagine someone who claimed to be a fan of Nirvana but only knew that single song. It’d be frustrating as hell.

The second we declare something “the best” anything; the search tends to end. The Room may be fantastic but is it the best? In a world full of Troll 2, Hard Ticket to Hawaii and Sleepaway Camp is it truly the best of the worst? That’s even just sticking with the more mainstream stuff. There’s some incredible and rarely talked about piece of cinema garbage.

Killer Workout has been one of my more recent loves. It’s a bafflingly film that’s more complex and confusing that necessary. There’s Nukie, the borderline unwatchable E.T. rip off. What about Invisible Maniac in which our titular character chucks someone to death with a hoagie (Something that has been a constant joke on the previously mentioned Flop House podcast) or The Guyver in which Jimmy Walker is grossly miscast as a rapping alien. The Uninvited … a film about a killer mutant cat puppet loose on a cruise ship is also a strong contender. Even this week on Shock Waves podcast the film The Evil Within was mentioned and sounds like a very promisingly terrible film. Don’t even get me started on Belly of the Beast starring Steven Seagal.

Don’t just be content with a poorly made drama from a mysterious and self-absorbed person. Explore what’s out there. Maybe instead of watching The Room for the 50th time, examine a film like S.I.C.K. (Serial Insane Clown Killer). And I? Well … I’ll stop bitching about a movie I’ve never seen and will finally watch it. This is just Part One. Tune in Next Week. I’ll be watching The Room for the first time and writing my thoughts.

Stay Tuned

Hi, I’m Adam. one third of the Geekscape podcast Horror Movie Night. I want to talk to you today about a matter that is near and dear to my heart: Bad Movies.

As long as I can remember I have loved bad movies. My love for garbage dates back to a little locally owned movie rental store in my town called “Have You Seen?”  This particular shop put its movies in very specific sections: French, Noir, French Noir, UK television, Adult Comedies and so forth. But the section that captured my interest the most from the first day I walked in was “Exploitation/Extreme And Bad Movies”. This section lead me a lot of places in my life – It helped nurture my love of horror, my love of shock cinema, and helped me discover some of my favorite films. But that’s not why we’re here.

Now my journey began the same as many shit afficiandos with Tommy Wiseau’s “The Room”. We’ll touch on that later, as it has been talked to death.  From there, I then found Jon Waters’ “Pink Flamingos”. A movie no sane person would call a masterpiece, but a movie that I think is important to understand where we’re going from here.

I hated Pink Flamingos the first time I tried to watch it. In fact, I turned it off when I got to the chicken sex scene. I came back to it again, and with time grew to understand what Waters was trying to do here. He’s making shock cinema, to offend the senses of those not within his particular circle, and to entertain those who are. I think Waters’ circle has grown a lot since the production, which is something I doubt he expected. Now it isn’t just Drag Queens and gays and 1970’s social outsiders who are privvy to Jon’s weird world, it’s people like 16 year old me, sitting in a basement watching a mans anus open and close to “Surfin’ Bird” and a man dressed as a woman eating fresh dog shit.

Now if those things sound unappealing to you, you’re right. They are. If you wonder what type of movie would prominently feature scenes like these: a bad one. But a bad movie made by friends for friends and in jest and with a helping handful of irony. But it exists in a weird paradox of being both sarcastic and sincere. The ideas of the movie, acting, the plot are sarcastic and biting. But the drive behind putting them to film are sincere. A fuck you to the social norm and a welcoming to the freaks of the world. Thats what drew me in, thats what brought me back.

Bad movies, the good breed of bad movies, are made with sincere intentions.

The Room is now known worldwide. It’s shown in theatres in every country with fanfare and involement. Its been opened up to a huge audience because people understand the context behind it. Wiseau made The Room with the intention of making a moving, heartfelt masterpiece. Instead he produced a movie of wooden automatons having awkward sex behind the back of an alien Jesus figure.

But with the knowledge tommy posseses now, I fear for his follow up: Best Friends Movie. Made with Room star Greg Sestero, this comes after the release of Gregs book Disaster Artist that details The Room phenomenom and the making of a movie about it. Will this knowledge affect how Tommy makes this new film? Will it lose its sincerity? If we take a look at other example you’ll see it almost always does.

https://youtu.be/P-y53CRSF9Q

Birdemic: Shock and Terror is out and out garbage. That people took their time to commit one minute of it to film is a testament to humanity’s lack of true purpose in the universe. But it’s also one of the most baffilingly amusing movies you may ever see (do yourself a favor and skip past the opening credits). James Nguyen thought that he was making an impactful statement on our effect on the enviroment, and his urge to virtue signal was so strong that he ignored all other logic in his quest. Clip art bird effects litter the screen, which im sure he assumed would look better in post. I’m also sure that upon seeing the final effect he thought the message of the film would shine through. So strong was his sincerity in his vision that he allowed it to pass standard and make it in the final product, and for that I salute him.

I also say fuck him because Birdemic 2 came out and it was the EXACT. SAME. THING.

His knowledge that his message failed but his failure succeeded lead him down a path of insincerity to try and rest on the laurels of his accidental trainwreck masterpiece. He lost the entire reason and heart that made the first one watchable.

Kung Fury is a bad movie. I may be in the minority here but I feel it is a bad movie in all respects, and I find no qaulities redeeming. It wears a sneer of sarcasm on its face from second one, it makes references for no other reason than to make them, it fails to have a reason for its being other than “Look how silly and random this is”. I don’t feel it was made with a sincere message behind it, or with a sincere spirt. I feel like it was written by people laughing at the stupidity of it, throwing any ideas out and letting them stick without giving them any purpose or second thought. “Tricera-cop sounds funny and the effect will look funny, so do it.” They went in with the idea to make a “bad” movie, and it failed.

If you want an actual love letter to the eighties, and their beautiful absurdity, watch “Turbo Kid”.  Many everyday moviegoers would consider bad, but it was made with so much heart and reverence that it is immpossibly charming.

Often a bad movie is wonderful simply because of your perception of it. Deep Blue Sea was meant to be a heart pounding thrill ride but if you root for the sharks its a hilarious story of revenge perpetrated by bird eating, oven operating monsters. The Happening is supposed to be a horrifying look at a worldwide disaster but if you don’t take it too seriously its a movie about whacky ways to suicide, conversations about hot dogs and running from the breeze. Zardoz is supposed to be a deep look into social hierarchies, but if you look at is as a bad attempt to explain the deep meaning you found in an acid trip one time its far more enjoyable. “Yeah but like, the rich live forever and like, we’re the savages controlled by guns and like….oh shit I lost it.” Even the director doesn’t quite remember what his point was anymore.

These films had a sincere purpose and idea going in, but if you the viewer ignore and avoid it, you can create your own fun. Theres a whole world of impossibly good bad movies out there, and this article has only mentioned a few of the most well known ones. Dig deeper, find the sincerity that lurks beneath these supposedly bad movies, and see the joy in it.

From the second I read Jim Vorel’s list of 100 So Bad it’s Good movies I knew I had to have him on the podcast to talk b-movies. Jim is an awesome writer and quickly became a friend of the internet. Be sure to check out his write ups on PasteMagazine.com and specifically the article we discuss this episode.

The intro music contains the song I Think I’ve Gone Mad (f/J-Walk) by Sinistah K from his MixTape Ugly

Follow Saint Mort on Facebook and Twitter

If you really like the show get Matt something nice off his AmazonWishList

Subscribe to Us on iTunes

 

Briefly: Here’s some interesting news for a slow, slow Saturday (aside from that cool Gotham casting anyways).

James Franco’s Rabbit Bandini production company has just picked up the film rights to The Disaster Artist: My Life Inside The Room, a book that digs deep into the production of what many consider the worst film of all-time, Tommy Wiseau’s The Room.

Here’s the synopsis for the book, which was written by actor Greg Sestero and journalist Tom Bissell:

Nineteen-year-old Greg Sestero met Tommy Wiseau at an acting school in San Francisco. Wiseau’s scenes were rivetingly wrong, yet Sestero, hypnotized by such uninhibited acting, thought, “I have to do a scene with this guy.” That impulse changed both of their lives. Wiseau seemed never to have read the rule book on interpersonal relationships (or the instruc­tions on a bottle of black hair dye), yet he generously offered to put the aspiring actor up in his LA apart­ment. Sestero’s nascent acting career first sizzled, then fizzled, resulting in Wiseau’s last-second offer to Sestero of costarring with him in The Room, a movie Wiseau wrote and planned to finance, produce, and direct—in the parking lot of a Hollywood equipment-rental shop.

 

Wiseau spent $6 million of his own money on his film, but despite the efforts of the disbelieving (and frequently fired) crew and embarrassed (and fre­quently fired) actors, the movie made no sense. Nevertheless Wiseau rented a Hollywood billboard featuring his alarming headshot and staged a red carpet premiere. The Room made $1800 at the box office and closed after two weeks. One reviewer said that watching The Room was like “getting stabbed in the head.”

 

The Disaster Artist is Greg Sestero’s laugh-out-loud funny account of how Tommy Wiseau defied every law of artistry, business, and friendship to make “the Citizen Kane of bad movies” (Entertainment Weekly), which is now an international phenomenon, with Wiseau himself beloved as an oddball celebrity. Written with award-winning journalist Tom Bissell, The Disaster Artist is an inspiring tour de force that reads like a page-turning novel, an open-hearted portrait of an enigmatic man who will improbably capture your heart.

 Franco has signed on to direct the film, and Seth Rogen and Evan Goldberg (who we’re recently in the news themselves for a long-awaited project) are set to produce?

Have you seen the film? Would you watch a movie about its creation? Sound out below!

http://youtu.be/yCj8sPCWfUw

Source: Deadline