In the annals of cinematic history, no other movie like #TheRoom proudly wears the distinction of being the best worst movie ever made. Those who (ironically) enjoyed Johnny's (#TommyWiseau) descent into poorly acted madness thought that The Room would be the first and last time they would enjoy Wiseau's signature brand of storytelling.
But against all odds, these doubts were proven wrong.
Best Frenemies Forever
In Best F[r]iends, a wayward drifter named Jon (Sestero) is picked up by the strange mortician Harvey (Wiseau), who offers his newfound friend a job. It turns out that Harvey is part of a gold-smuggling operation that uses his mortuary as a front, and he wants Jon to join in the fun. But the longer Jon sticks with Harvey, the more trouble he seems to find himself in.
Best F[r]iends is a black comedy written by Sestero, which was based on a road trip he and Wiseau had back in 2003. Wiseau has no other creative role than being one of the two main characters. The movie is slated for a 2017 release date.
Watch the trailer for Best F[r]iends below.
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Tearing Past Reputations Apart
Wiseau and Sestero made a name for themselves by playing a part in making the worst movie ever made, to the point where their well-known story behind the cameras has been adapted into a biopic titled #TheDisasterArtist, starring James Franco as the director/writer/producer/actor of The Room.
The Disaster Artist currently has an impressive 92% average score on Rotten Tomatoes, with Erik Childress of The Playlist even going as far as saying that Franco's role as Wiseau is his best performance since his Oscar-nominated turn in 127 Hours. The biopic is set for a late 2017 release date, but has since premiered in some indie film festivals.
As seen in the trailer for Best F[r]iends, critics and those who got to see an early screening apparently love the two lead actors' turns as serious performers. In a competently made film, no less.
Compared to The Room, it seems like the people behind Best F[r]iends have a better grasp of the technical aspects of filmmaking, such as managing the camera's focus and sound mixing. The story, on the other hand, may come off to some experienced film-goers as a generic crime thriller commonly seen in independent directorial debuts, but it's still leagues above the ego-trip that was Johnny's rise and fall in Wiseau's first film effort.
It's possible that Best F[r]iends could be a legitimately good movie and not another favorite target for online riffers everywhere, and this is a welcome turn for the actors whose names are inseparable from The Room.
It's been said that in the world of filmmaking, anything can happen. If the career paths of both Wiseau and Sestero are any indication, this age old belief is indeed true and a reminder for aspiring filmmakers everywhere to never give up on their dreams - even if the world may call your first work of art the worst thing to ever be put on celluloid.