The movie has a
sequence during the end credits that's probably a little too clever for its own good; although in five years I might see it again and think otherwise.
The film's apparent faithfulness is admirable, but interviews with actual survivors
shown during the end credits provide more impact and resonance than the rest of the film can muster.
Based on the rapturous attention to detail paid to «The Room» — exhibited throughout «The Disaster Artist,» but also showcased during side - by - side scene
comparisons during the end credits, as both Francos and the rest of the cast's work is shown next to scenes from the original film — «The Disaster Artist» should play as well at midnight screenings as «The Room» does now.
Even the sure - shot bloopers
run during end credits have that «knowingly crafted to look like genuine gaffes» which, if truly the case, is further indicative of how bankrupt the comedy is when they can't even flub lines as funny as they used to.
DVD Extras A choice of commentaries, a surprisingly good array of behind - the - scenes featurettes, deleted scenes, a trailer, and a full music video of «Child Stars on Your Television» (it's a «We Are The World» - style song performed by a huge host of long - forgotten child stars, which
rolls during the end credits and is probably the best part of the whole disc).
James Franco directs and stars as the self - unaware Tommy, playing him just about perfectly when compared side by side to scenes from The Room (which this new movie does for a few
minutes during the end credits).
Indeed, it has all their hallmarks: amusing, witty, even absurd dialogue; hilarious ensemble scenes; wonderful characters / cameo performances; and incredibly funny blooper
reels during the end credits.
Don't let the massively complex topic scare you off, yes the movie requires some concentration, but it is very rewarding, even though you will be immensely
pissed during the end credits.
Old folks are adorably demented and successful women unhappy, castrating bitches, and leaving someone at the altar is okay because, look, he ends up with a
Vanderbilt during the end credits.
The only really exciting thing in Down with Love is a musical number that comes as an
afterthought during the end credits with McGregor (Moulin Rouge) and Zellweger (Chicago) singing their little hearts out in a Dean Martin-esque duet; and they sound great together.
This is a good looking film: costumes, majestic mountain scenery (though it's mostly digital) and Pfeiffer sings a
song during the end credits.
This post does contain Metroid Prime: Federation Force Spoilers, so if you would like to not know how the game ends just yet and what
happens during the end credits, then do not scroll down.
In fact, I have to give Franco a lot of credit for cutting away to some of the side - by - side comparison shots of The
Room during the end credits.
And though citations of 1970s and 1980s Italian cannibal
films during the end credits suggest high - minded scholarship, the film gleefully revels in sophomoric cheap shots such as exposed genitalia and explosive diarrhea.
These side - by - side comparisons are made
evident during the end credits, and while a post-film slideshow could have come off as smug or self - satisfied, the comparisons are so eerily accurate that you can only smile.
The film certainly makes that loud and
clear during the end credits, as Jack and Alex drive off into the sunset in the long - coveted Ford Mustang from Bullitt.
I didn't stick around long
enough during the end credits to discover if «no animals were harmed during the making of this movie,» but, knowing Haneke, I'd be concerned.
I personally love behind - the - scenes content like this, as it shows off the talent of the people creating our favorite titles who we usually glance over once their names
scroll during the end credits.
The Best if Yet To Come, which can be immediately recognized as the haunting song that
played during the end credits of the original Metal Gear Solid game.
I still have at this point only heard bits of the real Wiseau speaking, and that's
during the end credits of the movie, when they show the side - by - side scenes of the original film and The Disaster Artist's version.
As can be gleaned from snippets of news footage shown
during the end credits, Ding has done an outstanding job re-creating the events and conveying the complexity and prudence of the cops» investigative chess moves.
However, although the film loses momentum in its final half - hour, it more than redeems
itself during the end credits.
During its end credits, The Young Karl Marx finally springs to life with footage of historic revolutions accompanied by Bob Dylan's «Like a Rolling Stone» on the soundtrack.
We only see Julliette Lewis at the beginning of the movie and
during the end credits, but she is captivating.
While the main event of the film certainly did happen, as well as some of the scenes (some of them, excerpted from the documentary, are shown
during the end credits), the film as a whole does tend to traverse familiar territory as far as feel - good sports films go, especially with the final game where all of the loose ends comfortably fall into place.
Couldn't they have run
it during the end credits or something?
Unlike A Haunted House, which features over 2 1/2 minutes of unnecessary / deleted scenes
during the end credits, this sequel does not (probably because they were all kept in the movie).
ALERT: please remember to read the opening credits and there were 2 extra scenes
during the ending credits.
But while it's a clever approach that earns some laughs (none more so than
during the end credits sequence), it doesn't change the fact that the film is still a complete retread from top to bottom.