WAMG Giveaway – Win Free Passes to THE ROOM at The Tivoli November 9th

THE ROOM will be back at The Tivoli this week! This is to get everybody primed and excited for THE DISASTER ARTIST, the film about the making of THE ROOM that opens December 1st. THE ROOM screening is this Thursday at 7pm at The Tivoli (6350 Delmar). We Are Movie Geeks would like to give away ten pairs of passes to this screening. Just leave a comment below with your email address and we’ll contact you.

WAMG invites you to enter for the chance to win two seats to the advance screening of THE ROOM this Tursday, Nov. 9th at 7pm at The Tivoli (6350 Delmar)

OFFICIAL RULES:

1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.

2. No purchase necessary. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.

With THE DISASTER ARTIST, James Franco transforms the tragicomic true-story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable—into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds. Based on Greg Sestero’s best-selling tell-all about the making of Tommy’s cult-classic disasterpiece The Room (“The Greatest Bad Movie Ever Made”)

There are different types of “Bad Movies”. It’s become sport to poke fun at bloated star vehicles such as ISHTAR, GLITTER, or GIGLI but those films are usually miserable experiences to actually sit through. There are films that are intentionally bad such as those from Troma studios (TOXIC AVENGER, POULTRYGEIST) but Troma knows its audience and anyone seeing a Troma film knows what they are getting into. Writer/director Tommy Wiseau’s THE ROOM belongs with the group of movies that are so bad that they can transform their own awfulness into a “comedy of errors”. Unlike more mundane bad films, these films develop an ardent following of fans who love them because of their poor quality, because normally, the errors (technical or artistic) or wildly contrived plots are unlikely to be seen elsewhere and they become great entertainment in spite of themselves. PLAN 9 FROM OUTER SPACE is the most famous film in this category but its director, Ed Wood, made his films while cloaked in an alcoholic haze (and bra) while convinced he was making great art. I’m not sure what Tommy Wiseau’s excuse is.

THE ROOM is an independently-made, self-distributed movie Wiseau wrote, directed, and starred in back in 2003 that would have been quickly forgotten if it hadn’t found new life after being discovered by some courageous Los Angeles movie fans.It began playing midnights all across the country, complete with prop-throwing, dialog-heckling, and the audience acting out scenes  and dialog like “Lisa, you’re tearing me apart!(think ROCKY HORROR PICTURE SHOW without the bustiers).  There’s no real way of adequately describing the film’s amusements in standard critique but I will say that it really does live up (or in this case down) to its reputation. A most uncomplicated love story, THE ROOM stars Wiseau as Johnny, a long-haired banker whose trampy girlfriend Lisa (Juliette Danielle) is having an affair with his best friend Mark (Greg Sestero). Johnny gets upset. The End. To be sure, THE ROOM is a craptacular train wreck that will have you rolling on the floor with laughter because of its stupidity, but it is so transcendent in its dreadfulness that it actually becomes a thing of beauty. All of THE ROOMS’s cult achievement rests squarely on the awkward shoulders of Tommy Wiseau, the unlikeliest leading man ever to grace the big screen. Wiseau looks like Gene Simmons’ squat, constipated brother and has an incredibly uncomfortable screen presence. Speaking in a vague Eastern European accent (he claims he’s originally from France. He also claims to study psychology ‘as a hobby’), his every line is mumbled in the same phonetic, euro-sleaze inflection and concluded with a forced, strangled giggle. Wiseu directs himself in three long soft-core sex scenes, each one accompanied by an excruciating song and while Wiseu could have hired as his leading lady an unattractive actress who could act or a beauty who couldn’t, Juliette Danielle is both homely and untalented. I hate to be cruel but with her bad teeth, folds of fat that pop out of her lingerie, and nervous tick neck-twitch, she actually outdoes Wiseu in the lack-of-charisma department (at I first suspected she must be Wiseau’s girlfriend until I read an interview where he claims to have discovered her the day before shooting began when he spotted her stepping off a bus!).

It’s hard to explain the appeal of THE ROOM to someone who hasn’t seen it. I could describe the craziness that abounds such as the scene when the guys go outside and toss a football around from about three feet apart while reciting wretched dialog, or mention that a main character announces she has cancer halfway through, a development never again revisited, but there’s no way my descriptions can do THE ROOM’s unintentional delights justice. After all the anti-acclaim the film has received, Wiseau has backpedaled and now claims he was making a spoof. Was he?