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Sarah (7798 KP) rated The Rocky Horror Picture Show (1975) in Movies
Nov 25, 2020
Gloriously kitsch
Film #4 on the 100 Movies Bucket List: The Rocky Horror Picture Show
The Rocky Horror Picture Show is a bonafide cult classic and I doubt there is anyone who would disagree with this. It flopped on first release at the cinema but soon after gained a massive cult following and became a hugely interactive musical experience. For me, I became part of this cult following at university and have attended a fair few parties and shows over the years (in fancy dress of course). However it’s been quite some time since I watched this and seeing it again now makes for a rather interesting watch.
The Rocky Horror Picture Show is a 1975 musical directed by Jim Sharman, spanning a multitude of genres. It follows newly engaged (and rather wholesome) couple Brad (Barry Bostwick) and Janet (Susan Sarandon) as a flat tyre leaves them stranded and they’re left to seek shelter in a nearby castle owned by Dr Frank-N-Furter (Tim Curry).
This film is undoubtedly bats**t crazy. The plot is absolutely bonkers – a group of aliens from the planet Transexual led by a mad scientist in his quest to make the perfect man. It spans so many genres from comic horror to glam-rock musical and everything in between. It’s aim to spoof old school science fiction films is spot on, and there isn’t many films that can pull off cannibalism, murder and erotic sexual experimentation in the same 2 hour run time.
Admittedly there are some aspects of the plot that haven’t quite stood the test of time. 45 years ago the freedom exhibited around gender and sexuality was unlike anything anyone had ever seen and is still a rather wonderful thing to watch. However, there are other sides to this (such as lack of consent) which have become more apparent as society evolves and maybe aren’t quite acceptable now as they were back then. Fortunately this doesn’t spoil the overall feel of the film and it’s still as camp and cheesy and kitsch as it ever was.
One of the reasons for this films success is Richard O Brien’s script and music, and his performance as Riff Raff is pretty creepy and fun too. It’s clever and smart, and the music is top notch. The songs are some of the most catchy I’ve ever heard and they make you forget how crazy the plot is as soon as the music starts. From the legendary Time Warp to the wonderful Meat Loaf cameo on Hot Patootie, to the incredibly moving and inspirational Don’t Dream It, Be It, the songs are hugely memorable.
And then you have Tim Curry as Frank-N-Furter, in an absolute standout performance. He is perfect in Frank (I’ve yet to see anyone do it better) and it’s probably the best role he’s ever had. He looks like he’s having so much fun and steals every scene, you can’t take your eyes off him and that’s not just because he’s in stockings and suspenders. He makes you feel fascinated by Frank, disgusted and then ultimately sorry for him and this is no mean feat. No disrespect to the rest of the cast, but when Curry isn’t on screen the film does suffer ever so slightly.
The Rocky Horror Picture Show is a wacky, campy riot of a musical with a message that is heartwarming and inclusive. It may have aged a little over the years and certain topics don’t scrub up quite as well, but it’s still a hugely entertaining and unique musical experience.
The Rocky Horror Picture Show is a bonafide cult classic and I doubt there is anyone who would disagree with this. It flopped on first release at the cinema but soon after gained a massive cult following and became a hugely interactive musical experience. For me, I became part of this cult following at university and have attended a fair few parties and shows over the years (in fancy dress of course). However it’s been quite some time since I watched this and seeing it again now makes for a rather interesting watch.
The Rocky Horror Picture Show is a 1975 musical directed by Jim Sharman, spanning a multitude of genres. It follows newly engaged (and rather wholesome) couple Brad (Barry Bostwick) and Janet (Susan Sarandon) as a flat tyre leaves them stranded and they’re left to seek shelter in a nearby castle owned by Dr Frank-N-Furter (Tim Curry).
This film is undoubtedly bats**t crazy. The plot is absolutely bonkers – a group of aliens from the planet Transexual led by a mad scientist in his quest to make the perfect man. It spans so many genres from comic horror to glam-rock musical and everything in between. It’s aim to spoof old school science fiction films is spot on, and there isn’t many films that can pull off cannibalism, murder and erotic sexual experimentation in the same 2 hour run time.
Admittedly there are some aspects of the plot that haven’t quite stood the test of time. 45 years ago the freedom exhibited around gender and sexuality was unlike anything anyone had ever seen and is still a rather wonderful thing to watch. However, there are other sides to this (such as lack of consent) which have become more apparent as society evolves and maybe aren’t quite acceptable now as they were back then. Fortunately this doesn’t spoil the overall feel of the film and it’s still as camp and cheesy and kitsch as it ever was.
One of the reasons for this films success is Richard O Brien’s script and music, and his performance as Riff Raff is pretty creepy and fun too. It’s clever and smart, and the music is top notch. The songs are some of the most catchy I’ve ever heard and they make you forget how crazy the plot is as soon as the music starts. From the legendary Time Warp to the wonderful Meat Loaf cameo on Hot Patootie, to the incredibly moving and inspirational Don’t Dream It, Be It, the songs are hugely memorable.
And then you have Tim Curry as Frank-N-Furter, in an absolute standout performance. He is perfect in Frank (I’ve yet to see anyone do it better) and it’s probably the best role he’s ever had. He looks like he’s having so much fun and steals every scene, you can’t take your eyes off him and that’s not just because he’s in stockings and suspenders. He makes you feel fascinated by Frank, disgusted and then ultimately sorry for him and this is no mean feat. No disrespect to the rest of the cast, but when Curry isn’t on screen the film does suffer ever so slightly.
The Rocky Horror Picture Show is a wacky, campy riot of a musical with a message that is heartwarming and inclusive. It may have aged a little over the years and certain topics don’t scrub up quite as well, but it’s still a hugely entertaining and unique musical experience.
Ryan Hill (152 KP) rated Man of Steel (2013) in Movies
May 21, 2019
"It's not an s on my world it means hope"
Superman's origin has been retold in comics more than any other character. But how do you reboot such a beloved icon in film form without making his origin feel unnecessary to go through again. By handing him over to the masters of all reboots. While developing the story for The Dark Knight Rises, Director Christopher Nolan and writer David S. Goyer developed a new way to bring the man of steel to life. The duo previously saved Batman and made him a cinematic legend again and now they plan to save Superman from uneven sequels and a stale image. And who did they invite to lead this revival? None other than director Zack Snyder, a visual wizard with a lackluster reputation in storytelling thanks to his remake of Dawn of the Dead, 300, Watchmen and Sucker Punch. Now despite some filmmaking stumbles along the way, the trio make for a surprisingly great combination and deliver the modern Superman film we have waited 75 years for with Man of Steel. We are given both Superman and a Clark Kent who doesn't know his place in the world and is coming to terms with how the public perceives him.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
As with all Superman mythology the story begins on Krypton, the planet that's hundreds of thousands of civilized years ahead of Earth. The whole planet is science fiction nirvana. The zooming spaceships, winged beast and advanced technology crafted from liquid metal. For once we experience the entire planet, not just a couple rooms made out of cheap crystal. There's a system of ways things work that has never been fleshed out on screen before. The government, the science and it's culture. At the head of the planet's scientific research is Jor-El (Russell Crowe) and he has discovered proof that may lead to the planet's destruction. But unfortunately his pleas towards his leaders are ignored due to the ongoing civil war with Jor-El's old friend General Zod (Michael Shannon). There's more history to the Jor-El/ Zod dynamic this time around which just enriches their conflict. There are millions of stories concerning Marlon Brando's $3 million dollar slumming in the '78 film. He intentionally mispronounced Krypton, made outrageous production demands and in the end that put him on the cutting room floor for it's sequel. Crowe see's Brando's paycheck acting and raises it with a performance full of gravitas. When conflicts begin to soften and punishments are served, more and more evidence begin to support Jor-El's claims of Krypton's destruction and with time and options exhausted, his final resort is to save his only son Kal-El. Still an infant, Jor-El concludes the only way his son will ever have any chance of life is to be sent to a more primitive alien planet and have a significant advantage over it's species. So he sends him to Earth, where it's sun will grant his body incredible abilities.
Jump 33 years later as the adult Kal-El, now under the name Clark Kent (Henry Cavil) is wandering the world trying to discover his place in it. There are multiple flashbacks to Clark's childhood with his adoptive parents Jonathan and Martha Kent (Kevin Costner and Diane Lane). Costner gives a heartfelt performance full of warmth as the father concerned with his son's well-being if the world rejects him. If someone with Clark's abilities were to be exposed to the public, it would be one of the biggest moments in human history. His existence alone would make everyone question religion, science and everything they had ever thought about the universe. And Lane strikes quiet, charming notes as the more understanding mother. Throughout his entire life Clark had been using his powers in secret, from saving derrick workers from fires to fighting a massive hurricane in his hometown of Smallville. If there's one word to describe Cavil's performance it's "Modern". He is not the "Aw shucks" farm boy nor is he the angst filled mess many feared he was going to be. There's still a humbleness, a sweetness and a sense of forthrightness to him. And of course he is a perfect physical representation of the character as well. As much as Christopher Reeve's performance still means to audiences today, it has reached a point where it has unfairly overshadowed the character. The idealism of Reeve's Superman isn't relevant today, at least not in the purest sense of the word. Cavil's Superman understands the difficulty of what his powers mean for the world and understands there really isn't anything to smile about.
Of course you can't tell a Superman story without his supporting players at the Daily Planet. Perry White (Laurence Fishburne, in an inspired piece of casting) knows the only way a newspaper could ever have hope at functioning these days is if they had major exclusives to the first alien ever revealed to the masses. Enter Lois Lane (Amy Adams, full of spunk) who has been chasing Clark's story all across the globe for several years. Lois has always been a tricky character to adapt, seeing how it's difficult for audiences to like her if you get it wrong. Can somebody who can't see Superman past a pair of thick glasses really be a Pulitzer Prize winning journalist? Thankfully, this Lois isn't as Shrill as Margot Kidder or as bland as Kate Bosworth in previous versions. Snyder and Adams treat Lois as the talented, dedicated journalist we know she really is by making her active at her profession and not having to prove anything just because she's a woman. The only thing she has to prove are her credentials, which are just as impressive as everything else about her. While some might be disappointed by the lack of romance between the couple, but to be fair, this isn't a Lois and Clark story, it's the story of Clark discovering his place in the world. But the spark between the two of them is certainly present when they first meet. For Clark to go from a lifetime of loneliness to have somebody instantly discover everything about you and admiring all of it is a luxury he has never had before.
Clark couldn't have picked a better time to make his presence known to the world, with General Zod returning to finish what he started. The cinematic Superman villains have created a history of scenery chewing performances dating back to Gene Hackman's Lex Luthor. Terrence Stamp was the first actor to portray Zod on film in Superman ll, but despite some memorable dialogue ("Kneel before Zod!") he was still essentially just a typical mustache twirling maniac. Zod this time around is nothing but bold tactics and is fully fledged to preserving his lost race, no matter what the cost. Michael Shannon is nothing but pure, demented megalomania. The only disadvantage Zod possesses though is that his body isn't used to the yellow son and must try and control all his new powers at once. Clark on the other hand, has had a lifetime to perfect his gifts.
Visual aesthetics have leaped skyscrapers since the Donner era. Snyder takes that technological advantage and gives fans what they have dreamed of for years. To put it bluntly, to see Supes punch somebody- really fucking hard! Snyder understands all of Superman's abilities and test them on the grandest scale imaginable. And he does so without resorting to his trademark slow-mo sequences and putting macho fantasies on display. In terms of action alone this is the first time the character has been given justice. Even as bombastic or repetitive it occasionally becomes, it can easily be forgiven because the character has been so overdue for it. It is unfortunate that cinematographer Amir Morki captures it all in a rather unpolished handheld style. But at least Snyder's chaotic direction finally seems to have a sense of aim and isn't relying on green screen to tell his stories. It may have to do with the influence of Nolan producing, but the end result is gloriously flashy, gritty and contains a well needed sense of gravity. And while Man of Steel never reaches the same dizzying heights as Nolan's Dark Knight trilogy, it still preserves and reintroduces it's legendary character in the same respect.
Snyder, Nolan and Goyer certainly have stayed true to the modern lore of Superman by adapting elements of his classic comic stories Birthright, Man for All Seasons, New Krypton and Earth One, and do so without damaging or over-explaining any of it. But if anything it's a science fiction story first then a comic book adaptation, in the vein of such first contact films as the original Day the Earth Stood Still and War of the Worlds. Man of Steel reminds us that Superman is not human, but still represents the best that humanity has to offer. It's the story of fathers, understanding your roots and taking hold of your destiny. It's always been that way for Superman, ever since he was created by young Jewish immigrants Jerry Siegel and Joe Shuster.
While the original theme music by John Williams is still the granddaddy of all superhero cinematic anthems, Hans Zimmer still creates a thunderous pulse of a score. Atmospheric, gentle and adrenaline charged, Zimmer accompanies Clark's drifting, the concerns of his parents and Superman's clashes with one perfect note after another.
Christopher Reeve for many people is still going to be the definitive Superman, but that's too be expected. For so long that's all we've had to go on as far as a great man of steel. There are multiple generations separating Reeve and Cavil and multiple generations separating their audiences. Will everyone accept Cavil as this modern Superman that understands today's humanity? As with Batman Begins, the conclusion doesn't technically set itself up for a sequel but it establishes an iconic part of it's universe in a nice wink that makes you want to see more of it. It isn't quite perfect, but this universe certainly deserved to grow. Because unlike what occurred in 2006, this time Superman really has returned.
Gareth von Kallenbach (965 KP) rated Tusk (2014) in Movies
Jun 19, 2019
To legions of his many fans, writer, director, producer, and podcaster Kevin Smith is a man fanboys find easy to root for. His films have become pop-culture gold to comic book, science fiction, and general geekdom fans the world over. Smith has built a career on independent films with characters that are as real as they are raw and raunchy. The crude nature of his jokes often put him in a “love them or hate them” category for many critics as it is definitely not a style that is for the masses. That being said, the films are witty, honest, and most times relatable, no matter how bad the situations and the characters become. Recently, Smith took a detour to the darker side with his film “Red State” that looked at a group of kids who became the victims of a fanatical cult leader and his followers.
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/
While Smith was reportedly working to get funding for “Clerks 3”, an idea was presented to him during his Smodcast about a guy in rural Canada who is offering free room and board to anybody who would live with him on the condition that they wear a walrus costume from time to time. Buoyed by his followers on Twitter, Smith decided to make a horror film based on the situation even after learning that the incident in question was the result of a prank by a comedian.
In his new film Tusk, we are introduced to a successful podcaster named Wallace (Justin Long), who along with his costar Teddy (Haley Joel Osment), run a show called the Not See Party, whose name leads to several double takes and comical and uncomfortable situations down the line. Wallace’s girlfriend Ally (Genesis Rodriguez) wishes to accompany Wallace to his trip up to Canada in order to interview someone for a show.
Since Teddy is not a flyer, Wallace travels to locations to interview people and then in turn tells the stories to Teddy so the two can comment about them on air. Ally longs for the Wallace of old who was a struggling comedian as she believes that the successful Wallace is not that fun to be around as he no longer makes her a priority in life. Wallace admits as much when he discloses a series of infidelities to Teddy and dismisses them as nothing more than clearing of the head while traveling or before doing a live show for an audience.
Upon arriving in Manitoba, Wallace learns that his intended interview has befallen tragedy and faced without a topic for his next show, Wallace is intrigued by a flyer from a man offering room and board as well as plenty of stories.
Wallace makes contact with the individual and travels two hours into rural Manitoba at night to meet the man at his expansive estate. Upon meeting Howard Howe (Michael Parks), Wallace is captivated by the elderly wheelchair-bound gentleman and his tales of life at sea including meeting Ernest Hemingway during the war. As Wallace sat spellbound by the tales Howard is telling him, he soon falls unconscious as a result of being drugged by his host. Things take a very dark turn the following morning when Howard learns that he has lost a leg of which Howard proclaims was the tragic result of a spider bite. Things become a living nightmare as Wallace quickly learns just how devious and diabolical Michael’s plans are for him and trapped in a remote area his humanity and faith are slowly stripped away by the situation he finds himself in.
Teddy and Ally travel to Manitoba due to a frantic call Wallace makes and not finding much assistance from the local authorities, turn to quirky and eccentric former homicide detective Guy LaPointe (Johnny Depp), who fears that Wallace has become the victim of an elusive killer whom LaPointe has been trying to find for years.
What follows is a dark, disturbing, and utterly captivating thriller in a race against time with the very essence and humanity of Wallace hanging in the balance.
While Smith inserts his trademark humor into the film, this is very much a psychological thriller and not a comedy. Depp does a fantastic job and is almost unrecognizable in his role as a homicide detective who is scheduled to appear in a subsequent film currently shooting. While it seemed a bit of a stretch that Ally would want be involved with Wallace, there was nonetheless a good bit of chemistry between them even though the majority of their scenes are shown via flashback.
Long and Parks propel the story as it is pretty much about the dramatic struggle between the two of them. Parks is captivating and creepy while the brash Wallace gets a lesson in humanity and what truly matters in life. While some will no doubt find the subject matter highly disturbing and may be quick to dismiss the film, this is one of the more clever and enjoyable thrillers in recent years and proves that Smith is a filmmaker capable of doing things other than his trademark comedies and should be encouraged to continue to broaden his horizons.
As it stands the film should delight fans of Smith but also allows him to expand his audience into new areas as this truly is one of the more memorable and entertaining films of the year.
http://sknr.net/2014/09/19/tusk/