What film am I thinking of? It’s an independent flick featuring an unlikely friendship between two men played by Greg Sestero and Tommy Wiseau. The film is riddled with plot holes, tonal inconsistencies and a soundtrack that’s uncomfortably out of place. It’s a film whose pacing is abysmal, whose writing is abysmal-er and whose acting is the abysmal-est. Is it the 2003 cult classic “The Room,” the subject of 2017’s “The Disaster Artist?” Nope—it’s “Best F(r)iends, Part 1” (the first half of a two-part installment set to conclude in June), and it’s awesomely horrible.

“Best F(r)iends” is supposedly centered around a drifter named Jon (Greg Sestero) who befriends Harvey (Tommy Wiseau), an off-kilter mortician whose gory profession turns into an unlikely gold mine. The film allegedly explores the impact of distrust, greed and jealousy on a friendship founded on deception. Purportedly, “Best F(r)iends” is Wiseau and Sestero’s second chance at creating an artful, quality piece—and the fact that neither Wiseau nor Sestero directed the film definitely shows promise.

In reality, though, the entire thing is blatant fan service, making no attempt to stray from the “so bad it’s funny” niche that “The Room” perfected. In fact, the most appealing part of “Best F(r)iends” is that it’s an opportunity to see Wiseau and Sestero sharing the screen 15 years later. The movie was never about Harvey and Jon: It was always about Tommy and Greg. And that’s why I loved it.

Harvey and Jon toss a basketball back and forth in a non-sequitur of a scene in a clear throwback to the useless football scenes in “The Room.” Harvey encourages Jon to “live, live, live,” echoing Lisa’s advice to Michelle. There are little moments like these scattered throughout “Best F(r)iends” that are clear references to its spiritual predecessor. More importantly, though, Harvey and Jon never really get the chance to become their own characters. They’re just Johnny and Greg placed into a plot somehow more contrived and nonsensical than that of “The Room,” and Wiseau makes no attempt to change up his acting style. I’m convinced that he doesn’t really act at all, that Johnny and Harvey are really just Wiseau with different names.

If my evaluation of the piece seems overly critical, that’s because it is. As a standalone film, “Best F(r)iends” is a mess with an incoherent dumpster fire of an ending (that I won’t spoil for you because you have to see it for yourself). As a diehard fan of “The Room” and someone who’s proud to say he’s met Wiseau twice, I never viewed “Best F(r)iends” as a standalone film. I went into the theater more hyped about seeing a Wiseau-Sestero reunion and the stilted acting I’d come to love than seeing how the two have developed as actors and filmmakers.

All in all, I’m glad that the film demonstrated absolutely no development from an acting or writing standpoint. Sure, the new director added some faux-artsy flair to complement the faux-meaningful content, but the essence of the movie stayed the same. It was pure entertainment—a chance to lower my expectations, somehow fail to have them met and walk out of the theater a better person for having paid $12.50 and a $2 service fee.