Directed by Justin MacGregor
Starring – Greg Sestero, Tommy Wiseau, Kristen StephensonPino
The Plot – When a drifter (Sestero) is taken in by a peculiar mortician (Wiseau), the two hatch an underground enterprise off the back of the mortician’s old habits. But greed, hatred, and jealousy soon come in turn, and their efforts unravel, causing the drifter to run off with the spoils and leaving the mortician adrift. An expedition across the South West introduces wild and crazy characters through a series of twisted and dark foibles as both men learn a valuable lesson about friendship and loyalty.
Currently Not Rated
– If you take nothing else from this curvy, bloated mess, take in their own weird way, Sestero and Wiseau embody everything about the very definition of the word friendship. Much can be joked about how the term friend is used as much in Wiseau films as the term family is used in Fast and Furious films, but once all of the pieces have settled into place and you see the bigger picture, you can admire the vantage point of embracing one of life’s most cherished gifts.
– There is very little that is actually predictable about this film. Because this feels like a horror film of sorts from the start, it requires audiences to hang onto every word and development that comes at this duo of friends. This is of course easier to do during volume 1, as the convoluted second half film compromised almost everything that was great about the first two hours.
– The performances are the meat on the bone of this otherwise malnourishing screenplay. Wiseau’s zany and awkward personality feels welcome and appropriate as a mortician, speaking levels to the concept of isolation that has shaped the kindred spirit that is front and center at this film. Sestero has greatly improved, harvesting an emotional prowess that speaks levels to the misery in backstory that his character has experienced. Thankfully, Greg is given ample time to stake his character’s case without the influence of Wiseau, and because of such we embrace hints at something darker going on just beneath his surface.
– Mesmerizing musical score by Imagine Dragons drummer Daniel Platzman. The synthesizer tones of new age 80’s mixes well with techno percussions of the 90’s, forming a marriage in score that floats a cloud above this ominous setting. There were plenty of times during the film when I was drifting off, but almost acting as a dreamy blanket of comfort keeping me from the clutches of slumber and forcing me to stay awake.
– It doesn’t take a genius to bring up how unnecessary four total hours is between these two volumes. This is far from a complex and versatile screenplay, so to prolong it only further exploits the weaknesses that the film can never get away from. Lets put it like this; if The Wolf of Wall Street was able to tell its complete story in less than three hours, there is absolutely no reason a Tommy Wiseau film shouldn’t be able to do it in half that time. What’s aggravating is that even after four hours of screen time, the conclusion feels hollow, lacking clarity for the conflicts that feel inevitable.
– Adding to an immense run time, is some truly grounded pacing that limits the capabilities of these volumes merging together as one cohesive unit. Considering the first volume ends with a shocking development, the first thirty minutes of the second act completely drops the ball with the introduction of new characters and backstories that distance itself from the cliffhanger that we were previously left with.
– I mentioned earlier how the music is one of the biggest positives for the film, but the sound mixing incorporated within that musical score nearly compromises those eclectic tones. In addition to the musical score occasionally drowning out dialogue from the cast of characters, the pre-approved volume setting constantly raises and lowers from track to track without much precedent.
– In disassociating this from the lunacy of The Room, there’s an awkward cloud of pretentious filmmaking that rears its ugly head from time to time. Particularly in the closing moments of volume one, for whatever reasons there is a terribly crafted slowed-down effect that feels similar to your laptop freezing in place while the sound is still playing. Besides this, disjointed editing for the sake of it plagues the progression of the script over and over again. In a way, this is a puzzle with scattered pieces spread across, and it’s my opinion that a straight-forward narrative would’ve served this well with simplicity.
– The first volume is definitely the stronger of the two for me personally, because it competently juggles that combination of silly humor and awkward tension enveloping the air between our main duo. As for the second volume, the comic muscle is almost completely absent from what we’ve come to expect. Much of this can be attributed to that first volume conclusion and how the situation has amplified in terms of danger, but by ignoring what has put the butts in the seats, Best F(r)iends ultimately alienates its audience and leaves them with the inevitable taste of a one hit wonder from their mysterious hero Wiseau.
– Not that I expect a technical marvel when I watch a film starring Tommy Wiseau, but many of the scene transitions feel jaded with their sequencing. Volume two especially could use a subplot to play off of the developments between Sestero and his on-screen girlfriend’s characters, because the progression of their road trip feels terribly rushed when they are on-screen for one hundred percent of the time. As well, their characters 45 minutes of movements feels terribly stretched when they are asked to accommodate fans for two more hours after previously just doing it.