Based on the best-selling tell-all book about the making of the cult-classic disaster-piece "The Room,""The Disaster Artist" is based on the book "The Disaster Artist: My Life Inside The Room, The Greatest Bad Movie Ever Made" by Greg Sestero and Tom Bissell. James Franco transforms the tragicomic true-story of aspiring filmmaker and infamous Hollywood outsider Tommy Wiseau—an artist whose passion was as sincere as his methods were questionable— into a celebration of friendship, artistic expression, and dreams pursued against insurmountable odds. (Gary Reber)
Special features include commentary with Director/Actor James Franco, Tommy Wiseau, Greg Sestero and Writers Scott Neustadter and Michael H, Weber; the featurettes "Oh, Hi Mark: Making A Disaster" (HD 13:07), "Directing A Disaster" (HD 07:07), and "Just A Guy Leaning On A Wall: Getting To Know Tommy" (HD 07:12); a gag reel (HD 04:06); the theatrical trailer; upfront previews; and an UltraViolet digital copy.
The 2.39:1 1080p AVC picture, reviewed on a Sony Bravia Z9D 4K Ultra HD HDR display, upconverted to 2160p with greater resolution and luminance, was photographed digitally using the Red Weapon Dragon camera system and sourced from a 4K master Digital Intermediate format. The picture pushes realism on an outrageous set with a generally natural setting and color fidelity. Colors are never over saturated but nicely balanced, which enhances the realism. Occasionally, colors pop with good contrast exhibited in black levels, shadows and highlights. Fleshtones are generally natural and realistic within the lighting parameters. Resolution is a bit soft overall with touches of fine detail. Overall, this feels like a good representation of the making of "The Room" with visuals that are often hilarious. (Gary Reber)
The DTS-HD Master Audio™ 7.1-channel soundtrack varies between a 5.1- and a 7.1-channel presentation. While a dialogue-focused soundtrack, atmospherics and sound effects enhance the sense of realism, with extensions of surround energy enveloping and well balanced to the frontal soundstage, with extensive dialogue and frontal leakage. The audience reaction at the premiere also provides a good sense of surround energy. The pop/rock music score also extends to the surrounds, providing further subtle envelopment. The music itself is at times really energized and strong with a wide and deep soundstage. Most of the bass is part of the music. Dialogue throughout is intelligible and generally well integrated spatially. Overall, the sonics are serviceable and complementary to the weird story. (Gary Reber)