feedingbrett’s review published on Letterboxd:
In the sea of cinema’s gems and mediocrity also resides a pool of tragic films that seems to induce more pain than joy and entertainment. However, there is a thin slice of that pool, depending on your sensitivity to the film’s camp and viewing environment, that such a film does manage to create some sort of fun in the experience. Many share this experience with Tommy Wiseau’s The Room, which many have considered to be the worst film of all time, where faults can be found from all aspects of its production.
Months were spent prior to this viewing of this infamous film of compilation videos of some of the film’s funniest scenes, many of which resided from Wiseau’s performance and directorial choices. It was a bonding moment with my sister that brought so much laughter in the house, and it also urged us to seek out for the film and witness the so-called tragedy that everybody claimed it to be. Judging from the sea of laughter that I have given to those particular scenes, I presumed that I would have a rousing time with it, boy was I wrong.
Outside of the film's unintentionally comedic highlights, I found the film to be insufferable, incoherent, and loathing, as now I see those scenes with context which actually causes a migraine for those who is attempting to understand it all. The scenes themselves are still funny and laughter did spring up from time to time throughout the viewing, but it doesn’t compensate for the gaps in between of those moments that attempt to actually tell a story, which gets bogs down its self-seriousness. Characters pop in and out with nil context and continuity, and the linearity of time becomes scattered as the film progresses along, these are hilarious aspects that make for great conversation but to actually sit through it is painful.
Wiseau is undoubtedly the weakest link from the film, with a performance that seemed out of this world, but simultaneously, it is also the film’s strongest hook, the element that draws the audience in and actually witnessing the absurdity in person. So much can be felt from seeing his performance that it actually dampens the supporting cast, and it is in the scenes that are devoid of Wiseau’s presence and reliant on the supporting cast that the film begins to crumble.
The Room is a film stronger when thought about in retrospect or in anticipation of a viewing, it aggressively attacks the senses when Wiseau takes charge on screen, but sitting through it is not an easy one, with a problematic supporting cast that dampen so much of the film’s absurdity and simply resides on mind-dumbing amateur campiness. I wouldn’t be surprised if I find myself watching this again in the future, but I doubt it would be soon.