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Gareth von Kallenbach (980 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/
Hadley (567 KP) rated The Turn of the Screw in Books
Mar 24, 2020 (Updated Mar 24, 2020)
Well written (1 more)
Ahead of its time
Overly descriptive (1 more)
Vague
The ghost stories of the Victorian era are full of scares and mysteries- - - from the karma-ridden future, past and present ghosts of Charles Dickens' "A Christmas Carol" to the comedic ghost story by Oscar Wilde called 'the Canterville Ghost." But among all of them, Henry James found another subject to add to the pot in the novella 'the Turn of the Screw.'
With only 93 pages and the viewpoint of a governess, the story is one that has been up for debate as to its meaning for over a century, a story that blends child abuse and ghostly possession way ahead of its time. But even with its great plot, the story falls short and becomes bland throughout most of its short pages.
So why is the meaning of the Turn of the Screw still being debated? There's only one thing that has caused that --- it's in the way that James wrote the story, nothing is explained and everything is vague, these being very important parts that can keep this book from being enjoyable to many readers. Here's a summary of the story: a woman becomes governess of two children, one of which is sent home from school (technically expelled, in today's terms), the entire book has this woman trying to figure out why the child was sent home, but with ghosts thrown into the mix.
The story starts off with a man telling this ghost story from letters he received from a woman (the governess). But, even at the end of the book, the story never turns back to the man finishing the letters, yet this was done so masterfully that when you are done with the book, you completely forget about the man at the beginning, something that isn't easily done today in most writing. The man is reading these letters to a small audience that is also never revealed why, something that will seem completely irrelevant for the reader.
Readers finally get their paranormal fix when our main character, the governess, sees her first ghost in the Turn of the Screw. Our governess goes on an isolated walk when she spots an older man staring at her from a tower on the estate. But not until after a second encounter with this man, she decides to tell a housemaid about it, who quickly knows whom she speaks of. The maid is very certain that the man the governess has spotted twice is a deceased man that used to work for the family, but the maid is terrified by this because this man seems to have been abusive towards the son of the family and now seems to be continuing to torment him even after death.
Our governess seems to go down a path of paranoia as she seems to believe that the children are seeing the ghosts, too, but refusing to tell her so, and she becomes convinced that the key to getting them to confess is to finding out why the boy was sent home from school in the first place. She tries many times to get him to tell her why, but lets him take control of the conversations where he is able to divert the attention to something else. When things seem to be too much for the governess and housemaid to handle, they decide to try to write the childrens' uncle, and ask him to visit - - - this being the uncle that hired the governess and asked to never be bothered by her again, and that he wants nothing to do with his niece and nephew ever again, and especially don't write to him about any problems.
James is considered one of the greatest authors of the English language, but although this novella did very well, he wasn't known for ghost stories. His most popular book is 'the Portrait of a Lady,' which is about a young woman who comes into a large amount of money only to have it stolen by two con-men. Being that he is a Victorian-era writer, you can expect the overly long paragraphs and descriptions that the time was known for in 'the Turn of the Screw.' I personally felt the story had too many interludes of the governess' thoughts and ideas, which border on rambling. There seemed no point in the governess obsessing over why the boy was sent home from school when there are ghosts tormenting them at home- - - how this mode was suppose to work has left me clueless.
It's a usual horror trope to have children being possessed as the core of a book because it's something that can shake adults to their core at the thought that their own children could be that vulnerable. But James was way ahead of his time in the Turn of the Screw. He was able to put together psychological standpoints that weren't even discussed in his time, bouncing between child abuse with those children acting out to the power that abusers can still hold over their victims, even after death.
I'm giving the story a high rating, although I really didn't enjoy it. Why? Because it was a great idea and it was well written. If James hadn't been so vague on key parts, and hadn't left readers with a shocking unexplained ending, then maybe I would have liked it more. I can only recommend this book to people who like Victorian ghost stories, but for paranormal lovers, I think it falls short.
With only 93 pages and the viewpoint of a governess, the story is one that has been up for debate as to its meaning for over a century, a story that blends child abuse and ghostly possession way ahead of its time. But even with its great plot, the story falls short and becomes bland throughout most of its short pages.
So why is the meaning of the Turn of the Screw still being debated? There's only one thing that has caused that --- it's in the way that James wrote the story, nothing is explained and everything is vague, these being very important parts that can keep this book from being enjoyable to many readers. Here's a summary of the story: a woman becomes governess of two children, one of which is sent home from school (technically expelled, in today's terms), the entire book has this woman trying to figure out why the child was sent home, but with ghosts thrown into the mix.
The story starts off with a man telling this ghost story from letters he received from a woman (the governess). But, even at the end of the book, the story never turns back to the man finishing the letters, yet this was done so masterfully that when you are done with the book, you completely forget about the man at the beginning, something that isn't easily done today in most writing. The man is reading these letters to a small audience that is also never revealed why, something that will seem completely irrelevant for the reader.
Readers finally get their paranormal fix when our main character, the governess, sees her first ghost in the Turn of the Screw. Our governess goes on an isolated walk when she spots an older man staring at her from a tower on the estate. But not until after a second encounter with this man, she decides to tell a housemaid about it, who quickly knows whom she speaks of. The maid is very certain that the man the governess has spotted twice is a deceased man that used to work for the family, but the maid is terrified by this because this man seems to have been abusive towards the son of the family and now seems to be continuing to torment him even after death.
Our governess seems to go down a path of paranoia as she seems to believe that the children are seeing the ghosts, too, but refusing to tell her so, and she becomes convinced that the key to getting them to confess is to finding out why the boy was sent home from school in the first place. She tries many times to get him to tell her why, but lets him take control of the conversations where he is able to divert the attention to something else. When things seem to be too much for the governess and housemaid to handle, they decide to try to write the childrens' uncle, and ask him to visit - - - this being the uncle that hired the governess and asked to never be bothered by her again, and that he wants nothing to do with his niece and nephew ever again, and especially don't write to him about any problems.
James is considered one of the greatest authors of the English language, but although this novella did very well, he wasn't known for ghost stories. His most popular book is 'the Portrait of a Lady,' which is about a young woman who comes into a large amount of money only to have it stolen by two con-men. Being that he is a Victorian-era writer, you can expect the overly long paragraphs and descriptions that the time was known for in 'the Turn of the Screw.' I personally felt the story had too many interludes of the governess' thoughts and ideas, which border on rambling. There seemed no point in the governess obsessing over why the boy was sent home from school when there are ghosts tormenting them at home- - - how this mode was suppose to work has left me clueless.
It's a usual horror trope to have children being possessed as the core of a book because it's something that can shake adults to their core at the thought that their own children could be that vulnerable. But James was way ahead of his time in the Turn of the Screw. He was able to put together psychological standpoints that weren't even discussed in his time, bouncing between child abuse with those children acting out to the power that abusers can still hold over their victims, even after death.
I'm giving the story a high rating, although I really didn't enjoy it. Why? Because it was a great idea and it was well written. If James hadn't been so vague on key parts, and hadn't left readers with a shocking unexplained ending, then maybe I would have liked it more. I can only recommend this book to people who like Victorian ghost stories, but for paranormal lovers, I think it falls short.
5 Minute Movie Guy (379 KP) rated Whiplash (2014) in Movies
Jul 1, 2019
Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance. It'll have you on the edge of your seat, with your heart still pounding even after it's over.
I believe that there’s a desire in all of us to achieve greatness. A deep, internal yearning for importance, respect, and acceptance. We want to be remembered and we want to fulfill a sense of purpose in our lives. For Andrew Nieman (Miles Teller), the central character in the 2014 Best Picture nominated film Whiplash, that desire is to be one of the all-time great jazz drummers. Of course, he knows that accomplishing such a goal will require a firmly fixed focus, an uncompromising dedication, and endless hours of practice. What he surely wasn’t expecting was to run into a teacher like Terence Fletcher (J.K. Simmons), who will stop at nothing in order to push his students to strive to be their very best. Whiplash makes for a painfully tense and terrifying learning experience that is nothing short of cinematic brilliance.
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!
Andrew is a first-year student at the prestigious Shaffer Conservatory of Music in New York where the presence of their great head music conductor, Terence Fletcher, looms over everyone. Fletcher is well-known, respected, and feared. More importantly, he is their ticket to success as musicians. Landing a spot in his band is a coveted high honor. Earning his respect is even greater. Though under Fletcher’s guidance, success doesn’t come easy. He rules over the school like a maniacal dictator and he demands absolute perfection from his students. After all, he has a highly revered reputation to preserve, and he’s not about to let anyone jeopardize it. Andrew finds himself lucky enough to be chosen to rehearse with Fletcher’s band, but he’s soon tested, humiliated, abused, and pushed to the limit by his short-tempered instructor.
Already something of a loner, Andrew delves even deeper within due to pressure from his teacher, turning his passion for music into an unhealthy obsession. He cuts off contact with others and devotes himself entirely to practicing. With fingers bloodied from extensive drumming, he simply bandages them up and keeps at it. Not only is his music playing taking control of his life, but it’s also clearly taking a toll on his mental health. Even more troubling for Andrew is that no matter how hard he tries, Fletcher is never satisfied, and he torments his students until they get things right, even if it means practicing all night. Resentment and tension rapidly rise for Andrew as he approaches his breaking point, resulting in the film’s unforgettably tense conclusion.
Whiplash is no walk in the park. It will have you sitting on the edge of your seat in suspense and terror, with your heart still pounding even after it’s over. It’s an emotional horror for young Andrew who is put through Hell by his mad musical conductor. I was legitimately in fear for his life and sanity. While the movie has given me a greater respect for musicians, and jazz bands in particular, it sure makes me feel glad that I was never in band!
Whiplash is remarkable in its design and execution. The film’s cinematography shows a wonderfully adept eye for camera angles, and gives this low-budget film a distinguished look. The director revels in the closeness of the scene, putting us right alongside Andrew as he comes face-to-face with the ever-menacing Fletcher. It’s unbelievably tense and uncomfortable to watch while he’s being verbally and physically assaulted right before your eyes. The film’s Oscar-winning editing finds the right tempo with knowing when to cut and when to linger. It also expertly accompanies the music with its barrage of clear, fast-paced shots. Of course, Whiplash is also very respectful to its music sources, and it does an amazing job in showcasing the outrageous musical talent on display.
The performances from Miles Teller and J.K. Simmons are sensational. It is estimated that roughly forty percent of the drumming you see by Andrew in Whiplash was actually performed by Teller. Considering the ridiculous amount of skill involved in these jazz band classics, that statistic should not be understated in the least. Teller puts on an incredible display and pours his heart into this movie. He carries the film, appearing in every single scene, and makes for a believable transition of character under the strict discipline of Fletcher. Even more extraordinary is J.K. Simmons, who won the Oscar for Best Supporting Actor with this performance. Simmons injects his character with an intense ferocity that demands your attention. He terrorizes his musicians while conducting with an iron fist. Yet there’s far more to his character than just being a bully. While I disagreed with his abusive methods, I couldn’t argue against his intended result. His character’s extreme conduct will no doubt take things too far for some viewers, but despite all of his anger, I still found Fletcher to be remarkably fascinating. In the end, as deserving of hatred as he may be, I couldn’t help but feel some level of respect for him, and I think that really speaks to the quality of the film.
Whiplash is an emotionally stirring masterpiece that questions how much is too much when it comes to pushing someone to be their best. It also explores the emotional and psychological harm that can result from that level of pressure and abuse. The movie is bolstered by two tense and energetic performances from Miles and Simmons, who are deserving of all of their praise and accolades. You don’t have to be a fan of jazz music to enjoy this phenomenal film. I found the music to be intoxicating, but the real strength of the movie is the teacher and student dynamic between Andrew and Fletcher. With a diabolically delightful and brilliant ending, these two characters have achieved an esteemed level of movie greatness that make Whiplash a must-see!