My love for The Room has not been an easy road. It took months of fine tuning, refinement, some conformity and skipping doses of my meds to get down to the level of Tommy Wiseau and his unmitigated cult masterpiece. Whether you’ve seen the movie in its true form, whether you’ve seen it play on the April Fool’s Day airings on cable television here in America, whether you were there during the great tirade of Wiseau on online critics, “The Room” and its charms are almost impossible to ignore. It’s a movie so bad, so inept, so unbelievably painful, it’s almost impossible to comprehend anyone thought it would be great on-screen, “The Room” is a film I constantly quote to this day–ohai Mark!
I’m of the opinion that had this film been created under its original title “Simon Says,” that it could have been a wonderful action thriller with a new franchise start. But as a continuation of the “Die Hard” series it’s a strong and unique sequel. Sure it drops off in the climax, but for the first half of this action thriller, “Die Hard with a Vengeance” is a unique and fresh new direction for a series in a rut. The first film is a classic, and the second is arguably entertaining, so it’s interesting that this film chooses instead to mostly be cerebral in its delivery and villain. Rather than John McClane crawling around ducts and hiding in corners, he spends the entirety of the film running around a crowded New York city during the summer trying to defuse brilliant bombs.
“Ultimate Spider-Man” the comic, from what I remember, was an edgy, sleek and rather dramatic reboot of the entire Spider-Man universe. And odds are if you’re used to angsty stern Peter Parker from Sam Raimi’s films and the newest cinematic outing with Andrew Garfield, “Ultimate Spider-Man” the TV series might take some getting used to. In fact, “Ultimate Spider-Man” completely side steps most of the angst, drama, and melancholy that comes with the territory of Spider-Man’s world, and grabs a hold of the comedy by the throat and dives in head first.
Director Joseph Kahn basically creates the “Scott Pilgrim vs. The World” of slasher movies, a movie so meta and so self-aware that a subset of audience members may be convinced this movie is actually an affirmation of the fads this movie tackles. I imagine some folks will smile thinking “He really gets us” while Kahn is pointing and laughing at them in the background. Kahn seems to have little respect or regard for people in to fads and spends most of the movie skewering just about everyone in this odd vacuum of cyclical nostalgia and retro crap with a modern age lacking an actual identity of its own. “Detention” is a film that many movie fans will either love or hate. I often fell in to the category of despising it but also kept dabbling in the area of admiration for being so unpredictable and original.