Cinephilia is a remarkably diverse phenomenon, encompassing a vast spectrum of cinematic appreciation that extends far beyond the standard canon of masterpieces. It reflects not only a devotion to diverse genres and cultural backgrounds but also a fascinating engagement with diverse levels of quality. Indeed, some cinephiles have built their entire appreciation around a cult-like devotion to films that, instead of being famous for being extraordinarily good, owe their place in history for being extraordinarily bad. This phenomenon found some of its early manifestations through the Razzie Awards, the satirical television show Mystery Science Theatre 3000, and early IMDb ratings, which were often used to ridicule obscure works of twentieth-century United States cinema. In the twenty-first century, however, the undisputed champion of the so-called "it’s so bad it’s good" category is undoubtedly Tommy Wiseau, whose 2003 drama The Room earned a legendary cult status that has even led to derivative films of its own.
The Room served as Wiseau’s feature directing debut, a project in which he also took on the roles of writer, producer, and main star. The plot is set in San Francisco. Wiseau plays the main character, a relatively well-to-do bank manager named Johnny. He lives in a townhouse together with his fiancée Lisa (Juliette Danielle), whom he is about to marry. Although Johnny genuinely loves her, she seems bored with her relationship and is attracted to Johnny’s best friend Mark (Greg Sestero). Despite her mother Claudette (Caroline Minott), advising her to remain with the kind-hearted Johnny, Lisa decides to pursue Mark who ultimately succumbs to temptation. Johnny is at first blissfully unaware of Lisa’s treachery and her attempts to manipulate his friends with false claims of domestic abuse, but he eventually learns the truth, which leads to a tragic finale.
Despite its unenviable reputation, The Room is far from the worst film even casual viewers might see, and like many "it’s so bad it’s so good" classics, it can be actually appreciated for the mere fact of being made at all. Wiseau shows great enthusiasm and energy throughout the production, displaying an obvious love for cinema history. This is seen in the use of San Francisco locations, which were used in so many classic films. Furthermore, his acting performance is modelled on Marlon Brando and James Dean in their prime, especially the latter whose famous lines in Rebel Without a Cause he actually quotes. This sincere attempt to emulate great actors highlights Wiseau’s dedication, even if the execution falters.
Yet, all that enthusiasm cannot hide the fact that Wiseau lacked actual talent as director, writer, and ultimately actor. A lack of acting talents becomes quite obvious when compared with his friend Greg Sestero, who is much more effective as Mark. In contrast, Juliette Danielle, whose acting career almost began and died with this film, is adequate in the film. Her down-to-earth looks make The Room almost refreshing compared with typical Hollywood starlets that would have played Lisa in more conventional or higher budget films.
However, Wiseau’s inefficiencies as director are evident, as the film is poorly edited, resulting in some continuity issues and inexplicable tonal shifts. The narrative structure is frequently interrupted, and the pacing feels erratic. One example is the subplot involving Denny (Philip Haldiman), a young college student whom Johnny supports and who gets in trouble with a drug dealer Craig-R (Dan Janjigian). This storyline is never properly resolved, leaving the audience hanging with unanswered questions and a sense of unfinished business that pervades the entire viewing experience.
Production-wise, The Room doesn’t hide its low budget, which is visible in nearly every frame. The number of explicit sex scenes with nudity look like they belong to exploitative erotic thrillers that used to be produced in the 1990s, clashing tonally with the dramatic ambitions of the main plot.
The music score is, except in some of those erotic scenes, adequate and was composed by Mladen Miličević, a Sarajevo-born musician who began his career as a member of Valentino, a Yugoslav pop rock band that enjoyed popularity in the 1980s. While the score provides some emotional grounding, it often feels misaligned with the dialogue, further emphasising the disconnect in the film's direction.
The film’s premiere in 2003, rather predictably, didn’t garner any mercy from the critics, and the audience’s initial reaction was split between those angry about expecting a conventional drama and those who actually enjoyed the film as an unintentional comedy. However, the very badness led to the film being shown as a midnight movie and it slowly built its cult status over the years. The legend was confirmed in 2013 with The Disaster Artist, a memoir by Sestero detailing the production. In 2017, the book was adapted into an eponymous film directed and starring James Franco, which brought wider acclaim to the saga of its making.
Finally, in 2025, The Room received another sort of homage in the form of The Room Returns!, a low-budget remake starring Bob Odenkirk, produced for an HIV charity. Although the film was created as a charitable gesture to bring awareness to a worthy cause, its distribution was reportedly blocked by Wiseau, preventing it from reaching the wider public. This incident underscores the unique grip that Tommy Wiseau maintains over the legacy of his most infamous work, ensuring that The Room remains under his direct control despite its status as a public cultural touchstone. The saga of The Room thus continues to evolve, remaining a central figure in discussions of film history, failure, and the strange beauty of amateur endeavour.
RATING: 4/10 (+)
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