{"id":236,"date":"2014-09-18T11:12:26","date_gmt":"2014-09-18T18:12:26","guid":{"rendered":"http:\/\/moviesharkdeblore.com\/site\/?p=236"},"modified":"2014-10-07T11:26:52","modified_gmt":"2014-10-07T18:26:52","slug":"tusk-2","status":"publish","type":"post","link":"https:\/\/behindthelensonline.net\/site\/reviews\/tusk-2\/","title":{"rendered":"TUSK"},"content":{"rendered":"

By:\u00a0debbie lynn elias<\/strong><\/p>\n

I have long been an admirer of Kevin Smith\u2019s filmmaking ethic; although not always a fan of some of his films.\u00a0 He has taken the bull by the horns – in this case, the walrus by the tusks – and ignored the naysayers, to do what he wants to do – make movies.\u00a0 Inexpensive and cost effective by filmmaking standards, Smith\u2019s films are all stories that he wants to tell and told the way he wants to tell them.\u00a0 As a result, he and his work have developed a core following that guarantees investment money made back opening weekend.\u00a0 But because of his ethic, his style, his stories, his passion, and his unwavering stance when it comes to making his vision without interference by studios, investors and distributors, several years ago after \u201cRed State\u201d, he announced he was done with filmmaking and turned to podcasting.\u00a0 Thankfully for all of us, creativity (and his wife) got the better of him and his filmmaking pilot light was relit with a very strange idea that arose from a hoax ad on the internet.\u00a0 That fire burns brighter than ever with TUSK.\u00a0 A thought-provoking, subtextual philosophical commentary on humanity and man, with an emotional and visual depth that is undisputedly the best work of Smith\u2019s career, TUSK is both brilliantly disturbing and disturbingly brilliant.<\/em><\/strong><\/p>\n

\"Tusk<\/p>\n

Wallace is the kind of person you love to hate.\u00a0 An arrogant ass whose obnoxious attitude is fueled by his own pent up misery in life, Wallace is one-half of the \u201cNot See Party\u201d podcast team; the other being Teddy Craft who is also Wallace\u2019s best, and only, friend.\u00a0 Teddy is just what his name implies – a cuddly kind of guy with a genuine smile, hearty laugh and a twinkle of mischief; and he is loyal to a fault.\u00a0 Disinterested and self-absorbed, Wallace\u2019s relationship with girlfriend Ally is tenuous at best, particularly when his \u201cjokes\u201d are bulls-eyed at her.<\/p>\n

On a roll with the podcast, the \u201cNot See Party\u201d has become an internet sensation with a video the \u201cKill Bill Kid\u201d.\u00a0 A young Canadian with an obsession for swords and Tarantino, while recording his own imitation of Uma Thurman, \u201cKill Bill Kid\u201d cuts off his own leg with a misplaced sword edge.\u00a0 The result is an hilarious viral sensation.\u00a0 Wanting to continue to boost his show\u2019s ratings, Wallace makes plans to fly to Canada and meet with Kill Bill Kid in person.\u00a0 Teddy, afraid to fly, will stay at home.<\/p>\n

On arriving in Canada, Wallace finds that \u201cKill Bill Kid\u201d has died thanks to another epic injury.\u00a0 Outraged at the boy\u2019s audacity to die before their interview, Wallace determines to find something else to make the trip worthwhile.\u00a0 While in the bathroom of a local bar (yes, above the urinal – this is a Kevin Smith film after all!), Wallace sees a handbill advertisement \u201coffering free lodging in the home of an elderly man with seafaring stories to tell\u201d.\u00a0 Seeing the potential of the experience, Wallace immediately calls the man and heads out for an interview.<\/p>\n

\"Tusk<\/p>\n

Pippy Hill is nothing if not a remote gothic estate. Steeped in a richness of history and wealth, mystery and intrigue, and smelling of fear, Wallace is even more intrigued when he meets the wheelchair-bound Howard Howe.\u00a0 A quirky but distinguished old gentlemen, Howe\u2019s manners are impeccable, his stories mesmerizing, his peppering of literary monologues telling of education and a romanticized life, particularly when he gets to the story of Mr. Tusk.\u00a0 When lost at sea in 1959, Howe was saved by a walrus he named Mr. Tusk.\u00a0 Stranded on a rock with Mr. Tusk for what sounds like a number of years, the two became best friends and inseparable until Howe was rescued.\u00a0 A sweet story.<\/p>\n

Sipping some special tea from a china teacup (with pinky extended, mind you) and as spellbound as a child being read his favorite bedtime story for the umpteenth time, it doesn\u2019t take long for Wallace to drift off to sleep or, pass out, as the case may be.\u00a0 On awakening, he finds he is no longer in the warm, welcoming drawing room, but in a cold Deco-tiled atrium, himself now in a wheelchair with a blanket covering his lap.\u00a0 On joining him, Howe explains that a spider bit his ankle and a doctor had to be summoned.\u00a0 As Wallace lifts the blanket to check out his injury, he is horrified and petrified.\u00a0 His leg is gone.\u00a0\u00a0 While he shrieks blood curdling screams to rival the Banshees, Howe calmly advises that dinner will be served promptly at 6-o\u2019clock.<\/p>\n

Realizing Howe is a madman, Wallace knows he needs help, but from who.\u00a0 The only friends he has or people he can call are Ally and Teddy.\u00a0 With neither answering his frantic phone calls, Wallace can only pray they will get his messages and rescue him.\u00a0 But the clock is ticking as Wallace learns of Howe\u2019s ultimate vision – to physically turn Wallace into Mr. Tusk.<\/p>\n

\"Tusk<\/p>\n

The brilliance of TUSK rises and falls on the performance of Michael Parks.\u00a0 Needing someone who can walk that rapier line between sanity and insanity, mannered gentility and gutteral freak, and deliver lengthy literary monologues ripe with history, quotations and reference, given that Peter O\u2019Toole is no longer with us, Michael Parks is the heir apparent.\u00a0\u00a0\u00a0 Giving full credit to Parks, Smith excitedly notes, \u201cMichael, you know, breathed absolute life into it and its Michael\u2019s performance first to last.\u201d\u00a0\u00a0 Parks is spellbinding.\u00a0 As the backstory unfolds (which I will not divulge), you find yourself more rapt in Howe and in the story, as the intrigue and mystery is fueled by a schizophrenic and sociopathic performance that is delicious.\u00a0 Shakespearean to the core, Parks digs in and keeps on going.<\/p>\n

According to Smith, TUSK lives because of Michael Parks.\u00a0 Feeling bad that he didn\u2019t \u201cget [Parks] attention on Red State because [Smith] was too busy getting attention for myself just creating a ****ing story around it to sell the movie without selling marketing and stuff. . .I always felt like he got kind of cheated, man, like he deserved more attention. . . [I]f I can shine the light on Parks that would be a reason to go back and do it and that would make me thrilled to do it.\u201d<\/p>\n

\"Tusk<\/p>\n

When it comes to Wallace, Justin Long may be a surprise casting – until you see his performance.\u00a0 He brings an\u00a0 ultimate humanity, regret and remorse to the callous arrogance of the insensitive smart-ass that is Wallace.\u00a0 Stretching himself as an actor, not only is this is the first time we see Long not be \u201cMr. Nice\u201d or \u201cMr. Likeable\u201d, but for much of his role he had to perform without the benefit of movement or voice, forced to rely on his eyes and vocalized timbres of feral screams and yelps; be it while paralyzed in a wheelchair drooling and drugged out or in various stages of Odobenus rosmarus transformation.\u00a0 Challenging for any actor, Long more than proves his mettle.<\/p>\n

As with Parks, Smith is humble and effusive when he speaks of Long and TUSK.\u00a0 \u201cJustin helped me shape what Wallace became.\u201d\u00a0 Calling Long \u201cmy secret weapon\u201d, key to Smith\u2019s casting choice was that \u201c[Y]ou don\u2019t just get a performer with Justin, you get a writer. . .You get somebody who writes on their feet, who does your movie and then ****ing does six other movies that blend into your movie because he\u2019s so ****ing quick and charming. . .Justin\u2019s gonna do what Justin does best.\u00a0 And then on top of that he\u2019s gonna do what he\u2019s never done before which is take the only ****ing arrow out of his quiver that he knows he can hit the bulls eye with every time – speaking.\u201d<\/p>\n

\"Tusk<\/p>\n

While it feels as if Haley Joel Osment has been out of the picture for awhile, he has been anything but, filling his years with college, voice work and smaller internet series.\u00a0 But with TUSK, he\u2019s back in full force as Teddy Craft.\u00a0 Fun and fun-loving, Osment gets to inject a bit of kick-ass into Teddy and display a bit of that \u201csixth sense\u201d earnestness we remember so well.\u00a0 Of course, the real kick-ass in TUSK is Genesis Rodriguez.\u00a0 As Ally, she gets to shoot guns and kick in doors.\u00a0 But she’s also exhibiting growth as an actress with levels and style of emotion, something that is brought to the forefront in a bedroom scene that leads to a big story reveal. The tears, the eyes, you think she’s prepping her audition for a soap opera – which plays into Smith’s kind of comedy camp.<\/p>\n

Since the cat\u2019s out of the bag, it won\u2019t hurt to mention credited Guy Lapointe aka Johnny Depp.\u00a0 Yes, using the character name as a credit alias, Depp pops up as former Canadian Detective Lapointe.\u00a0 Rather obvious Depp is trying for a meld of Peter Falk \u201cColumbo\u201d and Rock Hudson \u201cMac McMillan\u201d, it just doesn’t work.\u00a0 The character falls flat, feeling uninspired, dull.\u00a0 It doesn\u2019t take long before you find yourself doing the \u201cget to the point already\u201d mantra.\u00a0 Although the character is necessary to the story, the manner in which the character is designed and executed, detracts from the film as a whole.<\/p>\n

Having met Kevin Smith in the past, heard him passionately deliver presentations and keynotes at an annual National Association of Broadcasters convention, and admired his passion and efficacy in making films, I always felt he was shortchanging himself, that he could say more, dig deeper.\u00a0 With TUSK, he has.<\/p>\n

Although told as a broad comedy-horror blend, it\u2019s the broadest comedy (that of Guy Lapointe) that detracts from the disturbingly brilliant concept and macabre beauty of the film as a whole.\u00a0 The whole idea of making a man into a walrus set against the mythology of a long lost serial killer is fantastic, wonderful and actually, quite cool.\u00a0 The opening \u201cNot See Party\u201d podcasts work extremely well to kickstart the underlying philosophies and psychological horror that unfolds.\u00a0 Wallace’s on-air personality and cruelty is a subtext that permeates Howe’s pontificating mantras about men versus animals and the “humanity” of it all.\u00a0 Strong ideologies are infused into dialogue with discussions and statements such as the ability to cry and tears are the difference between men and animals; you have to wonder which is then better – man or an animal?\u00a0 The messaging and commentary is extremely profound and thought-provoking.<\/p>\n

\"Tusk<\/p>\n

Visually, TUSK goes far beyond anything that we have seen from Smith in the past.\u00a0 Rich, textured.\u00a0 Electing to shoot widescreen at 2:33, James Laxton\u2019s cinematography is well done and well designed – especially with Pippy Hill and the prison rock island within the mansion.\u00a0 The color, golden hued umbers within the “drawing room” – reddish mahogany dark wood walls, oriental rug in a burgundy – and the use of color within the production design adds eye-catching texture and depth to the cinematic experience.\u00a0 Intending the film to be more \u201cpunk rock, hand held\u201d, it was Laxton who convinced Smith to go for the more cinematic experience.\u00a0 \u201cJames was like, \u2018Push it out there. We went to rails on the whole thing.\u201d\u00a0 Thanks to an amazing dolly grip, steady-can was completely eliminated.\u00a0 \u201cOnce you get the wide frame, all of a sudden it\u2019s like we\u2019re doing this constantly.\u00a0 We\u2019re constantly floating back and forth.\u00a0 And the movie looks classy.\u201d\u00a0\u00a0 Shot on location at Kramer Hill in North Carolina, Smith lucked out with an abandoned country club to serve as Howe\u2019s mansion and the Pippy Hill estate and called upon production designer John Kretschmer to modify the luxury of the clubhouse as well as create the\u00a0 walrus enclave. The result is beauteous.<\/p>\n

Robert Kurtzman’s walrus effects\/prosthetics is very Frankenstonian, adding a nice spine-chilling creepiness.\u00a0 Just check out those front flippers.\u00a0\u00a0 However, as I have done in the past, I again have to question when prosthetics that involve sutures and incisions will move beyond the early Frankenstein age and actually reflect healed adhesions with the passage of time as opposed to the over-used still bloody, wide, ugly and unhealed visuals we are accustomed to. The effect can be just as ugly and horrifying.<\/p>\n

Christopher Drake\u2019s scoring serves as connective tissue, exquisitely blending the softness of known compositions by Debussey and Stephen Foster with the fun of a traditional tune like \u201cBlow the Man Down\u201d and the ever-present pulse of Fleetwood Mac\u2019s \u201cTusk\u201d.<\/p>\n

\"Tusk<\/p>\n

The combined effort of all the artisans and craftsmen has produced a film with highly polished production values employing creativity that pushes the tonal bandwidth to levels of enthralling uncomfortability and thought-provoking subject matter while still retaining the essence of Kevin Smith and a Kevin Smith film.\u00a0 \u201cThis thing is a product of its time and era.\u00a0 It\u2019s born of social media and the Internet.\u00a0 It is of the era of podcasts.\u00a0 It was born with podcast, it\u2019s about podcast or Twitter or GreenLid.\u201d<\/p>\n

Whether or not Smith intended, with TUSK, he has written and created something that is profound, filled with meaning and thought-provoking commentary and subtext, buttressed with indelible performances and imagery, that will stand the test of time and generations of audiences to come.<\/p>\n

Written and Directed by Kevin Smith<\/p>\n

Cast:\u00a0\u00a0\u00a0\u00a0 Justin Long, Michael Parks, Haley Joel Osment, Genesis Rodriguez, Guy Lapointe<\/p>\n

\"Tusk<\/p>\n","protected":false},"excerpt":{"rendered":"

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