One of my favorite examples of this kind of cinematic absurdity done right is Kevin Smith’s controversial horror-comedy Tusk, a divisive feature that’s almost equally loved and hated by the horror community. And with the flick currently celebrating its 10^th anniversary, I thought that this might be a great time to look back on the only film that dares to question if man is truly a walrus at heart.

Appropriately enough, the idea for Tusk originally came about on Kevin Smith’s SModcast back in 2013, with the director and his friend Scott Mosier finding out about a supposedly real ad where a landlord would set up a lodger for free if he agreed to dress up as a walrus. Naturally, Smith and Mosier proceeded to make up a humorous backstory for this bizarre agreement, and while the ad was later revealed to have been a hoax orchestrated by writer and prankster Chris Parkinson, this memorable episode of the podcast ended up becoming the basis for Smith’s next film.

Still waiting on approval for Clerks III (which would ultimately only come out in 2022), Smith developed the idea into a proper screenplay and began to shop the project around as another opportunity to “showcase Michael Parks in a fucked-up story” after their collaboration in Red State. The cast would eventually grow to include genre veteran Justin Long and even Johnny Depp as the French-Canadian detective Guy LaPointe (though Smith had originally envisioned the role for none other than Quentin Tarantino after seeing his brief performance in Django Unchained).

In the finished film, which somehow ended up being distributed by A24, Justin Long plays jaded podcaster Wallace Bryton as he embarks on a trip to Canada and gets kidnapped by the mysterious seaman Howard Howe (Michael Parks). When Howard reveals that he plans to transform Wallace into a freakish recreation of a walrus, it’s up to Teddy (Haley Joel Osment) and Ally (Genesis Rodriguez) – as well as the French-Canadian inspector Guy LaPoint (Johnny Depp) – to track him down before it’s too late.

Unsurprisingly, a lot of reviewers didn’t really get the movie when it first came out, with the flick being accused of being both too disturbing and too silly by different outlets. Some critics even went so far as to call Tusk one of the worst films of all time, something that I find baffling when one of the funniest parts of the experience is the fact that it’s often too well made when compared to its ridiculous origins. That being said, even the harshest critics had to concede that the film’s casting was impeccable.

While Justin Long is always a joy to watch in horrific situations and Johnny Depp’s near-offensive portrayal of a bumbling French-Canadian is impossible to look away from (though I can only imagine what Tarantino would have done with the role), I think it’s pretty well established that Michael Parks is the real stand-out of this talented ensemble.

The late, great character actor’s unhinged take on Howard is so iconic that it feels like the film only exists as an excuse to allow the veteran thespian a chance to completely let loose. Smith has even gone on record claiming that watching Parks and Depp ham it out onscreen together was akin to witnessing two wizards battling with ancient magic, and it’s precisely this disproportionate level of dedication that I think makes the film so damn hilarious.

Much like the very best classic comedies, the characters here are unaware that these situations are supposed to be funny, with Tusk taking itself extremely seriously as Justin Long’s humanity is forcibly stripped from him in increasingly insane manners. The difference here is that the horror elements are so well executed that you’ll often forget that you were laughing only a couple of minutes ago.

I mean, the concept alone is terrifying enough if you dare to take it seriously and contemplate the body horror of an irreversible transformation at the hands of a madman. The scene where Parks sharpens a tusk while speaking to a wheelchair-bound Justin Long only to imply that the bone is in fact his tibia is truly the stuff of nightmares – which only makes the film’s bizarrely mean-spirited depiction of Canada that much funnier (something that I actually appreciate even more having grown up in Ontario).

Tusk may not be a perfect film, suffering from a slightly bloated runtime and some uneven jokes, but if Smith’s goal was to create a unique cinematic experience that both shocks and entertains in equal measure, I think he really hit the ball out of the park here. Your enjoyment of the flick will likely depend on how accepting you are of the director’s particular brand of humor, but this is a deeply weird story that only gets better with age.

So whether you’re in the mood for some extreme body horror or just want to enjoy Michael Parks chewing up the scenery like it’s made of homemade poutine, this bizarre little thriller is still worth revisiting a decade later.

The post “I Don’t Wanna Die in Canada!” – Celebrating the Absurdity of ‘Tusk’ 10 Years Later appeared first on Bloody Disgusting!.

February has truly been a ride as Trace and I venture through the wilds of Weird Sex Month. After spending the last few weeks of January buried in films of the 2000-2010s with remake House of Wax (2005) and Crimson Peak (2015), February has been dedicated to the early 1980s with Videodrome (1983) and Possession (1981).

Now we’re up to 2014’s Tusk, Kevin Smith‘s second foray into horror. The film stars Justin Long as Wallace, a d-bag podcaster who travels to Canada to mock a boy who cut off his leg on the internet. When the story falls through, Wallace travels to a remote mansion to meet with Howard Howe (Michael Parks), a recluse with plenty of stories and…odd interests.

When Howard goes missing, it’s up to his girlfriend Ally (Genesis Rodriguez) and Not-See Party podcast co-host Teddy (Haley Joel Osment), along with a bizarre French Canadian detective (an uncredited Johnny Depp), to track him down. But what they discover in Howe’s makeshift zoo is unlike anything seen on film before: Mr. Tusk, the human walrus.

Be sure to subscribe to the podcast to get a new episode every Wednesday. You can subscribe on iTunes/Apple Podcasts, Stitcher, Spotify, iHeartRadio, SoundCloud, TuneIn, Amazon Music, Acast, Google Podcasts, and RSS.

Episode 217 – Tusk (2014)

Subscribe to the Not-See Party podcast and be wary of walrus dicks because for week 3 of Weird Sex Month, we’re talking about Kevin Smith’s second foray into horror, 2014’s Tusk. Along for the Canadian journey is Dede Crimmins, who has watched this movie *a lot.*

Yes, this is the infamous “Justin Long gets turned into a Walrus” movie and we have plenty of thoughts on his early douchebag performance, Michael Parks’ epic monologues, the fetish-y Mr. Tusk skin suit, and…oh right, Johnny Depp’s grating (or funny?) supporting performance.

Plus: what the hell is a sex fetish act called The Whistling Walrus?

Cross out Tusk!

Coming up on Wednesday: Weird Sex Month wraps up with a true “how did this get made” entry as we revisit the $70M budgeted, Mike Nichols-directed, Jack Nicholson and Michelle Pfeiffer starring romantic horror film, Wolf (1994).

P.S. Subscribe to our Patreon for more than 227 hours of additional content! This month, we’ve got episodes on Roxanne Benjamin’s There’s Something Wrong with the Children, Brandon Cronenberg’s Infinity Pool, Elizabeth Banks’ Cocaine Bear, and an M. Night Shyamalan double bill: Knock at the Cabin, complemented by an audio commentary on The Village.

The post The Weird Walrus Fetish in Kevin Smith’s ‘Tusk’ [Horror Queers Podcast] appeared first on Bloody Disgusting!.

If you haven’t seen it, Red State follows a group of teenagers who drive out to meet an older woman after being enticed with the promise of group sex. Naturally, the arrangement turns out to be a trap, and the teens find themselves kidnapped by the Five Points Trinity Church, an extremist Christian sect hell-bent on making an example out of these young sinners. Meanwhile, the authorities are alerted to the church’s suspicious actions and decide to pay a visit, with the investigation soon escalating into all-out carnage in an unpredictable thriller.

There’s a lot more to the film than this setup, with the story heading into unexpected directions as bodies begin to pile and the situation becomes more desperate. In fact, Red State‘s constantly evolving script means that it feels like a different movie every 15 minutes, even making you question who’s the real protagonist and making it impossible to predict where this bonkers plot is headed as it defies genre expectations. The movie can go from Hostel to The Wicker Man without a second’s notice, and that manic energy is precisely what makes it so entertaining.

Like most of Smith’s output, Red State undeniably has a sense of (mostly dark) humor, with moments like Sheriff Wynan’s near-slapstick levels of incompetence and the general absurdity of watching middle-aged church-folk arming themselves with assault rifles, but it’s certainly not a comedy. These brief laughs are mostly used to establish character traits and keep viewers on their toes as they anticipate the next disturbing scene. This general weirdness and the breakneck pacing might not be to everyone’s liking, but I see it as the film’s greatest strength, allowing Smith to play around with genre tropes in new and exciting ways

Despite the overall insanity, it’s clear that the director is borrowing from real world horrors when telling this eerie fable, taking inspiration from notorious figures like Jim Jones and Fred Phelps while also referencing infamous events like the Waco siege of ’93. Even back in 2011, Smith intended to show how excessive publicity can push some of these far-right groups to even more heinous acts, which is something that would only get worse in the following years with the rise of social media politics and fake news.

The believable script isn’t Red State‘s only asset, with Smith taking a lo-fi approach to filmmaking that only enhances the story’s chaotic elements. Featuring messy digital photography and quick and dirty cuts mostly done on the spot (as the director edited most of the movie during shooting), the film makes you feel like you’re really trapped alongside these characters in a terrifying and confusing situation. It was also mostly shot in sequence, allowing performances to escalate naturally from an acting perspective.

Speaking of acting, John Goodman stands out with his portrayal of a jaded federal agent who’s been ordered to silence all witnesses, and Michael Angarano, Nicholas Braun and Kyle Gallner make for a charming trio of fun-loving teenagers. However, there’s no denying that Michael Parks‘ fanatical Abin Cooper is the main attraction here, lighting up the screen with his compelling fire-and-brimstone sermons and a fatherly demeanor in a performance that highlights just how easy it is to fall into cults of personality. Channeling real world preachers (with some inspiration from fascist leaders for added flavor), Parks is equally charming and imposing as the leader of this deadly community, and you understand why his followers are ready to die for his beliefs. It’s no wonder that Smith would once again partner up with the late actor in the underrated Tusk, which features another powerhouse performance by Parks.

Having grown up in an extremely religious household, I can appreciate how Smith perfectly encapsulates the dangers of cult-like thinking and how these groups can become an echo chamber of hatred when they’re convinced that their harmful beliefs are morally justified. Having the government’s incompetent response escalate the situation into something worse actually makes Red State more believable. The movie’s even more relevant now than it was back in 2011, with online outrage culture making these communities louder and more dangerous.

Kevin Smith is no stranger to religious controversy, especially after Dogma sparked outrage from several religious groups back in ’99, and Red State was no different. A small group of Westboro Baptist Church members even showed up to protest the premiere only to be mocked by the director, who joined in on the fun. Of course, the film’s religious elements were even more pronounced in the original script, which featured an even crazier deus ex machina once heavenly trumpets interrupt the climactic showdown. While the finished film ends on an ironic coincidence, Smith initially meant for the film to conclude with the literal apocalypse. While that might have been a step too far, it’s still fun to imagine a wilder cut of this already-bonkers picture.

At the end of the day, Red State isn’t a perfect movie, suffering from bizarre tonal shifts and a few action sequences that could have benefited from a larger budget, but it’s still a terrifying exploration of weaponized faith and a refreshing change of pace for Kevin Smith as an artist. While the film might not fulfill the horrific promises of its first act, it remains a unique example of religious horror that’s even more thrilling 10 years down the line.

The post Kevin Smith’s First Horror Movie ‘Red State’ is Even More Terrifyingly Relevant 10 Years Later appeared first on Bloody Disgusting!.

Smith has been one of my favorite directors ever since I first saw Jay And Silent Bob Strike Back; his work with Mallrats and Clerks have made for some of my favorite comedies. But when I heard he was making a horror movie, I was caught off guard. Nowadays we’re becoming used to hearing about artists with a background in comedy taking on horror, such as Jordan Peele and Chris Rock regarding Us and the Saw reboot (respectively). After reading the premise for Tusk, how a man is turned into a walrus, I had to see the film. I didn’t have any strong expectations and figured it might give me a couple laughs; however, while I found myself in brief moments of uncomfortable chuckling, I eventually became silent as the film dove deeper into grim territory.

Smith’s horror comedy, Tusk, was released back in 2014 and was based off a story from his podcast SModcast. The film features Justin Long as protagonist Wallace Bryton, along with Michael Parks as the film’s antagonist Howard Howe. Wallace is a podcaster who seeks humiliating viral videos; during a trip to Canada, he discovers an ad from Howard offering to share a lifetime of stories. Wallace goes to Howard’s mansion and learns that he is a retired seaman. Howard tells Wallace about a walrus who saved him from a shipwreck and who he named “Mr. Tusk.” During their conversation, Wallace passes out, Howard having drugged him; when Wallace awakens, he discovers that one of his legs was amputated and that Howard intends on putting him in a walrus suit. Over time, Howard has been kidnapping other people and using their skin to build the suit.

Now on paper that still reads a little goofy, except seeing it in person is a whole different experience. There’s an additional psychological horror to Smith’s Tusk that amplifies that of the body horror. Later in the film, we learn that Howard had to eat Mr. Tusk in order to survive on an island he was trapped on after the shipwreck; doing this sent him into a guilt and has driven him to recreate his friend. Howard’s process in putting Wallace into the walrus suit plays into Tusk’s physical and psychological horrors. Regarding the physical, the suit is made of human flesh, the tusks made from the tibia bones of Wallace’s amputated leg. While the effort of sewing Wallace inside the suit is gruesome, the end product is haunting to look at. While we are looking at a person in a costume shaped like a walrus, there’s a human feel to the suit that’s uncanny; the combination of all that human flesh along with Wallace’s eyes staring out is enough to send chills down one’s spine. 

Then there’s the psychological torture Howard puts Wallace through, conditioning him to think and act like a walrus. The constant battering and berating Wallace endures is upsetting, and the ending of the film brings the whole thing to a close on a heartbreaking note.

Among the cast is that of Genesis Rodriguez who plays Wallace’s girlfriend Ally Leon. The two have a rocky relationship, Wallace constantly cheating on her and she having an affair with a close friend of his. By the end of the film, after Wallace has been able to kill Howard with his tusks, Ally and the friend find Wallace. The film then jumps to a year later, Wallace now being confined inside a wildlife sanctuary due to the psychological damage done upon him. While Ally visits him she remembers a conversation the two had about how crying separates humans from animals, since crying is proof of a soul. She tells him she still loves him, and as she’s walking away, tears roll down Wallace’s face. 

Even for the film’s moments of dark comedy, like when Howard gets in his own walrus suit and fights Wallace, Tusk ends up being a much more somber experience. Where a lot of other body horror films use torture to present suffering through physical and graphic details, Tusk delivers an equal amount of emotional suffering. Wallace’s entrapment is unnerving, the dark humor only adding to the film’s tension as it continues forward in despair.

It’s in my opinion that Tusk deserves a lot more credit for all it accomplishes. If it has been a while since you’ve watched it, or you’ve never seen it, I encourage you to check it out (it’s currently on Netflix). While Kevin Smith may be remembered for his more comedic films, what he has done with Tusk is pretty intriguing; rather than make a film that attempts to solely gross us out and provide bland comedic beats, he offers us a heartbreaking story. Tusk is one of those films where the body horror is deeper than the flesh.

The post How Walruses Became the Stuff of Nightmares: Looking Back on Kevin Smith’s ‘Tusk’ 5 Years Later appeared first on Bloody Disgusting!.

Park was a TV mainstay in the 1970s, playing handsome cops and criminals in Get Christie Love! and The Streets of San Francisco. His genre work began in earnest in the late 1970s, with a role as a doctor trying to stop a deadly outbreak of African bees in 1976’s TV thriller The Savage Bees.

He followed that up with another TV movie in 1978, Night Cries.

It was the end of the decade, in 1979, when Parks teamed with cult horror director Charles B. Pierce for The Evictors. The filmmaker, famous for his pseudo-documentary The Legend of Boggy Creek and the early slasher The Town That Dreaded Sundown, followed those films up with this lesser known but equally compelling piece of Southern horror. Parks played the devoted but often absent husband to Suspiria’s Jessica Harper (both pictured above), who spends the film terrorized by stalkers in her isolated home.

While he continued to work through the 1980s, genre material was in short supply; 1981 brought a TV remake of the Hitchcock classic Dial M for Murder, but much of Parks’ time was occupied in recurring roles on TV dramas like The Colbys and The Equalizer.

For a short time, it looked like Parks’ skills were going to be wasted in a series of quickie exploitation films like Caged Fury and the biker horror film Nightmare Beach. But that all changed when Parks landed the recurring role of Jean Renault in David Lynch’s Twin Peaks. Parks’ unique acting style, combining the realism of method acting with punctuations of wide-eyed creepiness that threatened to spin into a fever pitch, was perfectly matched for the material.

Unfortunately, it was back to the exploitation thriller arena after Twin Peaks ended its run, where filmmakers who didn’t recognize Parks’ nuance and skill cast him in films like Sorceress and Death Wish V: The Face of Death.

Thankfully, Quentin Tarantino then came along. As he had done with Laurence Tierney in Reservoir Dogs and John Travolta in Pulp Fiction, Tarantino gave Michael Parks a role that reminded film fans how great he could be. Small but memorable, Parks’ role as Texas Ranger Earl McGraw in From Dusk Till Dawn provided us with an instant classic monologue.

In fact, the character of McGraw would return in the Kill Bill films and both parts of the Grindhouse double feature, and Parks himself would eventually return in the From Dusk Till Dawn franchise as a new character: historical figure Ambrose Bierce in From Dusk Till Dawn 3: The Hangman’s Daughter.

The increased interest in Parks, thanks to his Tarantino film roles, led to a series of fun appearances as another sheriff wrapped up in supernatural trouble in 2007’s The Dead One, cameos in Argo and Django Unchained, and roles as a disturbed father in Maidenhead and the truly over-the-top Fritz Tremor in Smokin’ Aces 2: Assassins’ Ball.

However, it was a trilogy of horror films early in the 2010s that truly made Michael Parks a household name for horror fans, with performances so wild, honest, and painful that they cannot be forgotten. In 2011, director Kevin Smith veered away from his standard raunchy comedy roots to write and direct a disturbing horror film based loosely on the hateful rhetoric and violence of Pastor Fred Phelps and Westboro Baptist Church. The film was Red State, and Michael Parks played minister Abin Cooper. He delivered the impossible: portraying a religious zealot and cold-blooded murderer who somehow drew in viewers with his disarming folksy charm. The sermon he delivers is a pitch-perfect matching of performer and dialogue.

Three years after Red State, Kevin Smith had an idea for another horror film about a lonely old man who captures a podcast host and begins the disturbing process of transforming him into a human walrus that he will keep as a companion. The premise of Tusk is absurd, and many of the performances tilt over into broad comedy, but Parks’ central obsessed figure is always just as emotionally real as he is unbelievable in his actions. The scene with Parks explaining what will be done to his captor is disturbing in large part due to Parks’ performance.

One of the most affecting performances of Parks’ entire career soon came in a remake of a Mexican cannibal film called We Are What We Are. Relocated to the Appalachian Mountains in America, the film was written by Jim Mickle and Nick Damici, co-writers of Stakeland and Mulberry Street and co-creators of the excellent Sundance Channel series Hap & Leonard. Parks’ open wound of a performance is a wonder to behold; as a coroner whose newest case may finally reveal the truth about his daughter’s disappearance years earlier, Parks’ Doc Barrow is quiet, driven, and deeply desperate for closure. The scene in which Barrow confronts Bill Sage’s Parker to learn the truth about his daughter’s disappearance is a masterclass in subtlety and heartbreak.

Michael Parks had a career that spanned over fifty-five years. He moved back and forth between film and television, he worked with industry luminaries like Alfred Hitchcock, Larry Cohen, Quentin Tarantino, and David Lynch, and he even played Adam in John Huston’s The Bible: In the Beginning.

There was no role he couldn’t play, and the genre community is heartbroken that we won’t get any more. Rest in peace, Michael Parks. And thanks for all those immortal monologues.

The post We Pay Tribute to the Genre Career of Michael Parks appeared first on Bloody Disgusting!.

Younger audiences may remember Michael Parks from his work with Robert Rodriguez, Quentin Tarantino and Kevin Smith, but his acting career dates back all the way to 1960, beginning with two appearances on the TV series “Zane Grey Theater.” Parks popped up in countless TV shows throughout the ’60s, making his film debut as the title character in 1965’s Bus Riley’s Back in Town. On the small screen, he’s perhaps most known for playing the free spirited Jim Bronson in the TV series “Then Came Bronson,” which aired for just one season between 1969 and 1970.

Into the ’70s and ’80s, Michael Parks starred in Between Friends, “Baretta,” “Fantasy Island,” Dial M for Murder and The Return of Josey Wales, and he later played Jean Renault in David Lynch’s “Twin Peaks.” But Parks was introduced to an entirely new generation when he played Texas Ranger Earl McGraw in From Dusk Till Dawn, a memorable role he reprised in both Kill Bill Vol. 1 and Kill Bill Vol. 2, as well as in Grindhouse films Planet Terror and Death Proof – Quentin Tarantino has stated on the record that Parks was the greatest living actor of his time.

Parks’ more recent appearances were in the films The Assassination of Jesse James by the Coward Robert Ford, Argo, We Are What We Are, and the aforementioned Red State and Tusk. Kevin Smith paid tribute to his friend on Facebook today, echoing Tarantino’s sentiments:

I hate to report that my cinematic muse Michael Parks has passed away. Michael was, and will likely forever remain, the best actor I’ve ever known. I wrote both Red State and Tusk FOR Parks, I loved his acting so much. He was, hands-down, the most incredible thespian I ever had the pleasure to watch perform. And Parks brought out the absolute best in me every time he got near my set. From the moment I saw him steal the opening scene of From Dusk Till Dawn at an advance screening at the Sunset 5 back in the mid-90’s, I said to Scott Mosier, “Could you imagine what it must be like to work with a Yoda of acting like that guy? I gotta write for him one day.” It took me 15 years but my dream came true on Red State – for which Parks won Best Actor at the Sitges Film Festival – and then again years later with Tusk.

Only Michael Parks could have delivered the line “Is man indeed a walrus at heart?” and make it scary as fuck. My favorite memory of Michael is watching him and Johnny Depp act with and at each other, like a couple of dueling wizards, in their shared scene in Tusk. Parks was in Heaven that day, sharing the screen with another brilliant actor and creating an unforgettable performance. He elevated any flick or TV show he was in and elevated every director he ever acted for. I was so fucking blessed to have worked with this bonafide genius. But really, I was just lucky to have known him at all.

My heart goes out to James (Michael’s son), Oriana (Michael’s wife), Quentin Tarantino (Michael’s biggest fan) and any movie or music lover who was ever dazzled by the talents of Michael Parks. Farewell, old friend. I’ll see you farther along…

All of us here on BD send our deepest condolences to Parks’ family and friends.

The post R.I.P. Acting Legend Michael Parks Has Died appeared first on Bloody Disgusting!.

This news came just after Smith found out that the film, originally rated R, had been bumped down to a PG-13 rating for unknown reasons.

The full trailer is now here and cooks up trouble with “bratzi,” you know, Smith dressed up as a foot tall Canadian Nazi made of sentient Bratwurst. There’s also a ton of shit emojis, a monster with a hockey mask (nope, not Jason), and Stan Lee!

We also get to see a film starring Smith and his BFF Johnny Depp’s daughters, Harley Quinn Smith and Lily-Rose Depp.

The two star as Colleen Collette and Colleen McKenzie, who are teenage besties from Winnipeg who love yoga and live on their smartphones. But when these sophomores get invited to a senior party by the school hottie, the Colleens accidentally uncover an ancient evil buried beneath their Canadian convenience store. They join forces with legendary man-hunter Guy Lapointe to fight for their lives.

The pic also stars Michael Parks, Justin Long, Genesis Rodriguez, Ralph Garman, Jennifer Schwalbach, Harley Morenstein, Stan Lee, Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey, Jason Mewes, and Johnny Depp.

Tour dates:
6/1 – New Orleans, LA at the Joy Theater
6/2 – Ponte Vedra, FL at Ponte Vedra Concert Hall
6/6 – Houston, TX at The Houston Improv
6/12 – Columbus, OH at Studio 35 Cinema & Drafthouse
7/8 – Durham, NC at The Carolina Theatre
7/12 – San Jose, CA at The Improv
7/17 – San Francisco, CA at Cobbs Comedy Club

The post ‘Yoga Hosers’ Trailer: Bratzi, Monsters, Sh-t Emojis and Stan Lee! appeared first on Bloody Disgusting!.

This news comes just after Smith found out that the film, originally rated R, had been bumped down to a PG-13 rating for unknown reasons.

But I digress… here’s a new international trailer that shows how wild and wacky this genre comedy is going to be.

What can we expect? How about a box filled with “bratzi,” you know, Smith dressed up as a foot tall Canadian Nazi made of sentient Bratwurst. Not kidding. Take a look.

We also get to see a film starring Smith and his BFF Johnny Depp’s daughters, Harley Quinn Smith and Lily-Rose Depp.

The two star as Colleen Collette and Colleen McKenzie, who are teenage besties from Winnipeg who love yoga and live on their smartphones. But when these sophomores get invited to a senior party by the school hottie, the Colleens accidentally uncover an ancient evil buried beneath their Canadian convenience store. They join forces with legendary man-hunter Guy Lapointe to fight for their lives.

The pic also stars Michael Parks, Justin Long, Genesis Rodriguez, Ralph Garman, Jennifer Schwalbach, Harley Morenstein, Stan Lee, Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey, Jason Mewes, and Johnny Depp.

Tour dates:
6/1 – New Orleans, LA at the Joy Theater
6/2 – Ponte Vedra, FL at Ponte Vedra Concert Hall
6/6 – Houston, TX at The Houston Improv
6/12 – Columbus, OH at Studio 35 Cinema & Drafthouse
7/8 – Durham, NC at The Carolina Theatre
7/12 – San Jose, CA at The Improv
7/17 – San Francisco, CA at Cobbs Comedy Club

The post Kevin Smith and Johnny Depp’s Daughters Fight Bratzi in This ‘Yoga Hosers’ Trailer appeared first on Bloody Disgusting!.

Sorceress stars Linda Blair, Julie Strain, Michael Parks and Edward Albert.

Synopsis:
Larry Barnes (Larry Poindexter) is on the fast track to a partnership in a prestigious law firm, and his sexy witch wife Erica (Julie Strain, HEAVY METAL 2000) will do anything to keep her husband happy. But Erica makes a fatal mistake when she tries to kill Larry’s main competition for the partnership, Howard Reynolds (Edward Albert, GALAXY OF TERROR). With Howard now crippled for life from Erica’s dark magic, his wife Amelia (Linda Blair, THE EXORCIST) plots her revenge. Using witchcraft and a mystical medallion, Amelia tries to destroy everyone and everything in Larry’s life! All the pleasures of the flesh and malevolence of black magic collide in this newly remastered and uncensored version of Jim Wynorski’s SORCERESS (aka TEMPTRESS). Presented for the first time ever from a new 2K scan of the original uncut film element, this release features sex scene footage and additional nudity removed from the original release.

Bonus Features:
• Audio Commentary with Director Jim Wynorski
• Additional Audio Commentary with Director Jim Wynorski and SPFX Artist/Actor/Director, Tom Savini

The post Synapse to Release Jim Wynorski’s ‘Sorceress’ on Blu-ray and DVD! appeared first on Bloody Disgusting!.

That is the question that Kevin Smith posed to audiences in 2014 with his body-horror-comedy Tusk. Apparently, no one wanted to know the answer because the film flopped in theaters. When Tusk premiered at the Toronto International Film Festival in Septembe of 2014, it actually received mostly positive word-of-mouth from viewers. Once it saw a wide release two weeks later however, people couldn’t seem to stop shit-talking it.

It’s no secret that hating on Kevin Smith seems to be the cool thing to do nowadays (even more cool than hating Eli Roth). Many of his “fans” claim he hasn’t made a legitimately good movie since Chasing Amy in 1997. I would argue that Dogma, Clerks II and Zack and Miri Make a Porno are all winners, but what do I know? Hell, I even like certain things about Jay and Silent Bob Strike Back and Jersey Girl (it’s really not that bad).

Smith would make his first foray into horror with Red State, a political crime-horror film with an admittedly fantastic cast (how he managed to nab John Goodman and Melissa Leo I’ll never know) that sparked controversy from the get-go when Smith chose to self-distribute the film under the SModcast Pictures banner with a traveling show in select cities. It divided critics (though it’s got a better-than-you’d-expect 58% Rotten Tomatoes score) and audiences alike, but I personally think it’s pretty great, save for that tacked on after-school-special ending. The polarizing reviews that  film received would not hold a candle to those of his next film: Tusk, the first installment of his “True North” trilogy that continues with this year’s Yoga Hosers (read our review) and next year’s Moose Jaws, which I am particularly excited for.

As someone who has either loved or really liked most of Smith’s work (save for Mallrats and the atrocious Cop Out, which wasn’t even his script so I can’t really hold him responsible for that one), it makes perfect sense to come to the defense of Tusk, which sees quite a bit of hate here in Bloody Disgusting’s comments section. Even Mr. Disgusting loathes the film. I may not be able to make any converts, but my hope is that this post will serve as a safe haven for those of you who do like the film and feel like you can’t come clean for fear of an online verbal bashing. Let it be known that I am here for you! Tusk is actually a pretty great movie, Guy LaPointe and all!

***SPOILERS BELOW***

The plot of Tusk is a timeless one: an elderly man (Michael Parks, who owns the movie) wants to turn another man into a walrus so that he can be his companion for life. The whole film essentially plays like a pseudo sequel to Quint’s USS Indianapolis speech from Jaws.

The story behind the film’s creation is an interesting one. From Wikipedia:

The idea for the film came during the recording of SModcast 259 The Walrus and The Carpenter. In the episode, Smith with his longtime friend and producer Scott Mosier discussed an article featuring a Gumtree ad where a homeowner was offering a living situation free of charge, if the lodger agrees to dress as a walrus. The discussion went on from there, resulting in almost an hour of the episode being spent on reconstructing and telling a hypothetical story based on the ad. Smith then told his Twitter followers to tweet “#WalrusYes” if they wanted to see their hypothetical turned into a film, or “#WalrusNo” if they did not. A vast majority of Smith’s following agreed that the film should be made. The post on Gumtree was in fact a prank post by noted Brighton poet and prankster Chris Parkinson, who upon hearing of the planned film said he was a big fan of Smith and that he would love to be involved. Smith eventually hired Parkinson as an associate producer in November.

So really, if anyone is to “blame” for Tusk, it’s Smith’s followers (many of whom apparently went on to hate the film), but I digress. Many people seem to dislike Tusk based on the plot alone, but if that’s the case, why did they watch it in the first place? Clearly the film wasn’t meant for someone who doesn’t want to see a movie about a man turning another man into his walrus friend.

Let’s get this out of the way: lead character Wallace Bryton (Justin Long) is a huge asshole. Nothing about him inspires sympathy for what happens to him later in the film. This may pose a problem for some viewers, especially those looking for legitimate horror. You can’t have horror without a character to care about, amiright?

That being said, the scene where Wallace discovers that his leg has been amputated is easily the highlight of the film (unless the walrus suit reveal is your favorite, I go back and forth). It is reminiscent of Misery, but it’s possibly one of the most unsettling scenes put on film in recent memory.

Even if you can’t stand Long’s character, you have to admit that no one deserves that fate. Long’s reactions to his missing limb are haunting, and almost (almost) make you forget what a terrible person his character is. Once he is in his full walrus suit, Long is essentially relegated to just hopping around and grunting for the remainder of the film. Still, he makes for a pretty convincing walrus. That reveal is equal points humorous and shocking though. Kudos to Smith for not holding back with that creature design. The quick-zoom-out of the camera when Walrus Wallace first makes his appearance adds to the hilarity of the situation.

As mentioned previously, Parks owns Tusk. He gives such a compelling performance and really just falls into the roll. After his performance as Pastor Cooper in Red State, it’s easy to see why Smith wanted to cast him as the villainous and completely unhinged Howard Howe in Tusk. Even if you hate the film, you’ve got to admire Parks’ commitment. He legitimately sells his characters obsession with a walrus named Mr. Tusk, and actually makes you feel a little bad for him when you learn that he had to eat him to survive (though, in a very The Mist-like twist, help arrives just moments after he has finished his meal).

One aspect of the film that doesn’t entirely work is the character of Ally, played by Génesis Rodríguez. Her willingness to help Wallace after admitting to Teddy (and the audience, in a scene that practically breaks the fourth wall) how awful he treats her and how terrible he makes her feel is confounding. Maybe it’s just because I lack the empathy that the character does, but it just doesn’t seem believable that she would fly to Canada to rescue someone who makes her happy that her dad isn’t alive to see her. Her monologue at the midway point of the film is exceptional though. It’s just a shame that all of the character development built up during it is ruined when she decides to go rescue Wallace.

Even Teddy’s (Haley Joel Osment) motivations aren’t entirely clear, since he’s the one having sex with Ally, (though Smith does hide his identity for a good five minutes before revealing who it is Ally is talking to). I get it: they’re best friends, but Wallace is a huge douchebag and Teddy must not like him too much if he’s having sex with his girlfriend. Teddy and Ally’s unclear motivations for wanting to save Wallace are really my biggest complaints about Tusk. Osment is pretty fun in the role though, and it is nice to see him back on the screen, even if he spends the first half of the movie laughing obnoxiously.

Humor plays a big part in Tusk, and Smith’s frat-boy humor is present throughout the film, although not as prevalently as it is in something like Jay and Silent Bob Strike Back. From the constant mentions of walrus penises to the fact that Wallace’s podcast is named “The Not-See Party” (Teddy is afraid of flying so Wallace goes to interview their guests and during the podcast he tells Teddy about his experience since Teddy hasn’t seen he interview subject), it’s all a little juvenile, but most of it works in the context of the film.

Let’s get to the walrus elephant in the room: Johnny Depp’s portrayal of Guy LaPointe. If anyone was on the fence about Tusk at this point in the film (he show up exactly 63 minutes into the proceedings), Depp undoubtedly managed to knock them off of it. While he is only present in the final 40 minutes of the film (and not even all of it), he is a bizarre character that turns Tusk into a completely different film than what it once was before. Horror comedy is a tricky thing to nail with audiences. The main reason for this is that what scares one person may not scare someone else and what one person finds funny may induce eye-rolls from another person. When you combine two polarizing genres into one, it further narrows your audience.

Guy Lapointe is the turning point of Tusk, and I am apparently in the minority of audience members who finds him to be absolutely hilarious. From the moment he did his impression of a crucified T-rex (“It is one fuck of a bummer to look at I will tell you that!”), I was sold. It completely offset any of the horror that came before it, and that’s alright! Smith opted to turn his truly disturbing body-horror film into a straight-up comedy, and it does work. It just doesn’t work if you didn’t shift tone/genres with the film when he appeared.

Depp shares only one scene with Parks, and it is truly a wonder to behold. It’s only four and a half minutes long, but Smith successfully manages to blend humor and tension fairly well in this battle of wits stupidity between the two characters.

LaPointe is a quirky character, and the fact that he’s got a leading role in Yoga Hosers makes me even more excited to see it (and if you were on the fence about that film, you probably just decided whether or not you want to watch it).

Smith does attempt to infuse some political commentary in Tusk, which comes across as a little ham-handed. LaPointe’s insistence that “The real savage animals are the human beings” feels shoe-horned in and unnecessary. Maybe I’m just overthinking it (or did Smith just under-think it?), but it’s worth mentioning.

From a technical standpoint, Tusk is fairly competent. The budget seems a little too small to make use of a good cinematographer. It’s not that the cinematography is bad, per se, it’s just that Tusk is a very contained film. Most scenes take place in a room, though Howe’s mansion is glorious to look at. The music is also appropriately creepy, though the use of Fleetwood Mac’s “Tusk” in the film’s climactic battle, while fitting, is a little too on the nose. “Tusk” is one of my favorite songs though so I can’t complain about that too much, but I can just see the eye rolls in the audience the second those drums started playing.

Adding to my affinity for the film is the fact that I really do like Kevin Smith. I even like the way he sneaks his love for Canada in his films (“How’s everything over at Degrassi? You kids still getting knocked up and shot at?” and “I told him Canada doesn’t have any serial killers!” are the standouts in Tusk). I may have never met him, but he is always comes across as a pretty decent guy in his interviews. His reluctance to follow the majority has always been one of his most endearing qualities, no matter how many time it gets him in trouble. He just doesn’t give a fuck and he does whatever he wants. Not many Hollywood directors can say that about themselves.

Look, no one would accuse Tusk of being high art, but it knows exactly the kind of film it’s supposed to be, which is a silly, disturbing body-horror film. Tusk may not be your Mr. Tusk (and really, don’t we all want to find our own Mr. Tusk?), but it’s certainly not the train-wreck so many people make it out to be.

The post In Defense of Kevin Smith’s ‘Tusk’ appeared first on Bloody Disgusting!.

This evening Smith shared a clip that goes full Scott Pilgrim, only there’s a lot of Canadian accents and maple syrup.

In Yoga Hosers, also written by Smith, “Colleen Collette and Colleen McKenzie are teenage besties from Winnipeg who love yoga and live on their smartphones. But when these sophomores get invited to a senior party by the school hottie, the Colleens accidentally uncover an ancient evil buried beneath their Canadian convenience store.”

Yoga Hosers, the Tusk spinoff, also stars Tusk alums Michael Parks, Justin Long, Haley Joel Osment, Genesis Rodriguez, Ralph Garman and Harley Morenstein. With Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey and Jason Mewes.

The post Kevin Smith’s ‘Yoga Hosers’ Goes Full ‘Scott Pilgrim’ (Clip) appeared first on Bloody Disgusting!.

I was a huge, no, massive fan back in the day. I still watch Mallrats religiously, and think Chasing Amy, while unintentionally misogynistic, is great stuff. I’m all about the old stuff.

But, man, I really think that Kevin Smith sucks now.

Cop Out was unwatchable, Red State lacked intensity and was dull, and Tusk was mean-spirited dribble.

Now, while we wait for Smith’s story in Holidays, he’s heading to Park City, Utah to premiere Yoga Hosers, a spinoff to Tusk, to critics, fans and buyers.

What can they expect? How about a box filled with “bratzi,” you know, Smith dressed up as a foot tall Canadian Nazi made of sentient Bratwurst. Not kidding. Take a look.

Wow.

We also get to see a film starring his and his BFF Johnny Depp’s daughters, Harley Quinn Smith and Lily-Rose Depp. Yay.

The two star as Colleen Collette and Colleen McKenzie, who are teenage besties from Winnipeg who love yoga and live on their smartphones. But when these sophomores get invited to a senior party by the school hottie, the Colleens accidentally uncover an ancient evil buried beneath their Canadian convenience store. They join forces with legendary man-hunter Guy Lapointe to fight for their lives.

The pic also stars Michael Parks, Justin Long, Genesis Rodriguez, Ralph Garman, Jennifer Schwalbach, Harley Morenstein, Stan Lee, Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey, Jason Mewes, and Johnny Depp.

Look. I love horror movies. I love movies. I do not want to be disappointed. I’m crossing my fingers that something connects here and Yoga Hosers changes my opinion of Smith. Let’s talk after we’ve all seen it. Cool?

The post Meet the Bratzi in Kevin Smith’s ‘Yoga Hosers’ appeared first on Bloody Disgusting!.

Having recently wrapped production, here’s another look at Kevin Smith’s Yoga Hosers, which stars Johnny Depp as a Quebec police detective who is enlisted by two convenience store clerks — played by Smith’s and Depp’s daughters, Harley Quinn Smith and Lily-Rose Depp, both 15.

Those of you unfortunate enough to see the trash heap known as Tusk will have seen Harley Quinn and Lily-Rose as clerks in a cameo. The duo have to deal with Justin Long’s rude character before his eventual run-in with Michael Parks. The scene is being spun off into a feature with the two daughters who put on a poor performance in Tusk. Now, they must carry a feature alongside Depp, who also put forth the worst performance of his career in Smith’s toothy horror film.

The movie, also written by Smith, centers on two teenage yoga nuts who have an after-school job at a Manitoba convenience store called Eh-2-Zed. When an ancient evil rises from beneath Canada’s crust and threatens their big invitation to a 12th-grade party, the Colleens join forces with a legendary man hunter from Montreal named Guy Lapointe (Depp) to fight for their lives with “all seven chakras, one Warrior Pose at a time,” according to the producers.

Yoga Hosers also stars Tusk alums Michael Parks, Justin Long, Haley Joel Osment, Genesis Rodriguez, Ralph Garman and Harley Morenstein. New to the cast are Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey and Jason Mewes.

The post New ‘Yoga Hosers’ Image With Johnny Depp and Kevin Smith’s Daughters appeared first on Bloody Disgusting!.

No. In fact, Tusk is easily one of the worst films of the year. Not only is the Human Centipede-inspired horror awfully mean-spirited (it tries to hurt the viewer with no message), but it’s painfully unfunny. I used to be a huge Smith fan, and was even excited for Tusk based on the previews, but I cannot to express my displeasure enough.

The only thing that gives this abomination value is Michael Parks’ performance, which is overshadowed by Johnny Depp’s shocking repugnant appearance as the French-Canadian Guy LaPointe.

And Justin Long, who fights to preserve his acting credibility through the worst dialogue imaginable, is transformed into a rubbery awful effects mess that’s disastrously laughable.

TUSK WAS IN THEATERS. I’m having trouble digesting that, still.

Dare you to watch it.

The post Kevin Smith’s Mean-Spirited ‘Tusk’ Out Now appeared first on Bloody Disgusting!.

THR shared the first ever image from the Tusk spinoff, which depicts both Harley Quinn and Lily-Rose in their clerk uniforms.

The movie, also written by Smith, centers on two teenage yoga nuts who have an after-school job at a Manitoba convenience store called Eh-2-Zed. When an ancient evil rises from beneath Canada’s crust and threatens their big invitation to a 12th-grade party, the Colleens join forces with a legendary man hunter from Montreal named Guy Lapointe (Depp) to fight for their lives with “all seven chakras, one Warrior Pose at a time,” according to the producers.

Yoga Hosers also stars Tusk alums Michael Parks, Justin Long, Haley Joel Osment, Genesis Rodriguez, Ralph Garman and Harley Morenstein. New to the cast are Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey and Jason Mewes.

The post First ‘Yoga Hosers’ Image Shows Johnny Depp and Kevin Smith’s Daughters appeared first on Bloody Disgusting!.

In theaters September 19 via A24, Smith’s Human Centipede-esque Tusk (read our review) is about a man (Justin Long) who is surgically turned into a walrus by a mysterious seafarer (Michael Parks).

Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.

The official website will now allow you to “Tuskify yourself” – upload your picture and go full walrus!

The post ‘Tusk’ Clip Shows Haley Joel Osment As a Shit-Talkin’ DJ appeared first on Bloody Disgusting!.

In theaters September 19 via A24, Smith’s Human Centipede-esque Tusk (read our review) is about a man (Justin Long) who is surgically turned into a walrus by a mysterious seafarer (Michael Parks).

Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.

The official website will now allow you to “Tuskify yourself” – upload your picture and go full walrus!

The post ‘Tusk’ Clip Goes Over the “Cana-do’s” and “Cana-don’ts” appeared first on Bloody Disgusting!.

In theaters September 19, A24 shared with us a second exclusive alternate one-sheet that’s both artistic and creepy. It shows Long getting a bit long in the tooth.

Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.

As an added bonus, the official website will now allow you to “Tuskify yourself” – upload your picture and go full walrus!

The post Another Toothy ‘Tusk’ Poster Exclusive! appeared first on Bloody Disgusting!.

In theaters September 19, A24 shared with us an exclusive alternate one-sheet that’s both artistic and creepy. It shows Long’s shadow as a walrus, with the tease that man in the most dangerous animal. It’s a nice little social reference that plays into the film’s plot.

Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.

As an added bonus, the official website will now allow you to “Tuskify yourself” – upload your picture and go full walrus!

The post ‘Tusk’ Poster Teases the Most Dangerous Animal! (Exclusive) appeared first on Bloody Disgusting!.

Osment stars alongside Johnny Depp, Michael Parks, Justin Long, Genesis Rodriguez, Ralph Garman, Jennifer Schwalbach, Harley Morenstein, Tony Hale, Natasha Lyonne, Austin Butler, Adam Brody, Tyler Posey and Jason Mewes.

“Yoga Hosers centers on 15-year-old yoga nuts Colleen Collette (Lily-Rose Depp) and Colleen McKenzie (Harley Quinn Smith) who have an after-school job at a Manitoba convenience store called Eh-2-Zed. When an ancient evil rises from beneath Canada’s crust and threatens their big invitation to a Grade 12 party, the Colleens join forces with a legendary man-hunter from Montreal named Guy Lapointe (Depp) to fight for their lives with all seven Charkas, one Warrior Pose at a time.“

The post Haley Joel Osment Plays a Nazi In Kevin Smith’s ‘Yoga Hosers’ appeared first on Bloody Disgusting!.

At first glance, Tusk sounds similar to The Human Centipede and while it shares similarities synopsis-wise, both films couldn’t be any more different. For starters, Tusk manages to be more accessible yet far more balls out than that cult phenomena. Smith starts the film off from the get-go on a fun, likable note by establishing his familiar brand of humor. Assisting him immensely is the always likable presence of Justin Long, who’s every bit the comedic talent as his director. The real fireworks begin when he encounters the insane Howard Howe, played to perfection by the genius that is Michael Parks. Their scenes together are an absolute delight. What starts off hilariously off the wall eventually descends to even weirder, unfathomable depths where Smith really begins to take the viewer into uncomfortable places. Tusk goes exactly where it promises to go…and beyond. Thankfully Smith sticks to practical make-up effects (except for one atrocious CGI shot very early on). They work far more convincingly than I would have ever imagined. Gruesome stuff.

Smith finds that sweet spot where the viewer laugh’s out loud at the sight of truly outrageous, disturbing imagery without ever descending into self-parody. Tautness is felt at every turn. Long gets to showcase his impressive abilities in the dramatic department, having us feel for him despite his character flaws. Words can’t even begin to describe how brilliant Parks is here. Yes, he’s memorable in everything he does but like the best thespians, he has the ability to still surprise us. The character of Howe is one of the most original cinematic antagonists to date. This could very well be Parks’ finest hour and that’s no small achievement. Everything up to this point is absolutely stellar, unlike anything we’ve ever seen from Smith. While the Tusk is hysterical, it’s uncomfortably so. The horror and the comedy of the situation play out hand in hand without one undermining the other.

Unfortunately that’s until Tusk derails when a certain movie star suddenly pops up, playing “Manhunter” Guy LaPointe. Side-note: If you don’t already know the identity of the actor, I highly recommend you avoid finding out before you see the film. I have nothing against the quirky performance by Guy LaPointe (credited as playing himself). He provides a chunk of laughs. My issue is he overstays his welcome and should have strictly been a cameo. His scenery-chewing comes at the expense of what came before, as well as robbing attention from the strong support work of Genesis Rodriguez and Haley Joel Osment (welcome back), who should have been front and center from this point onward. Both of these characters are left underdeveloped which is a shame because I would have loved the interesting relationship between all of the protagonists to be explored more fully. Things are hinted upon but are sadly thrown to the curb at this juncture. LaPointe’s effect on the tone of the picture is downright toxic. It’s as if the viewer somehow detoured into a different film altogether. It seems as if Smith just allowed the actor to ad-lib and indulge into a character skit unrelated to the subject itself.

It’s hard not to feel like Smith somehow didn’t trust his ability at sustaining the horror element and decided to fall back into his comfort zone. The tone shifts completely to comedy mode from this point onward, killing the well-earned tension out of the equation. As a result, the third act fails to resonate. To make matters worse, Smith incorporates visual devices such as 70’s style zooms during the climax that are totally played for laughs, in a scene where the stakes should be high. While this stuff may be enjoyable (the audience responded enthusiastically), it ultimately pushed away my previous investment in the material.

Despite my reservations I had with the second half, I have no qualms in recommending Tusk. It’s thoroughly entertaining. The latest installment in the new chapter of Smith’s career is fearless to say the least. I can’t think of any other filmmaker that’s reinvented himself in such a striking manner. Tusk is as gleefully nutty and unsettling of a genre picture as we’ll likely get this year and possibly for some time to come. I just wish Smith kept his foot on the pedal instead of retreating back to his shtick with the LaPointe character. Oh well. Flaws and all, Tusk is one bizarre, unique and genuinely effective horror film. There are definitely images here that you’ll never unsee. Quite the achievement considering Kevin Smith is a comedy guy first and foremost.

The post [TIFF ’14 Review] Kevin Smith’s Gleefully Mad ‘Tusk’ Has to Be Seen to Be Believed! appeared first on Bloody Disgusting!.

A24 will be releasing Smith’s horror film, about a man (Justin Long) who is surgically turned into a walrus by a mysterious seafarer (Michael Parks), in theaters September 19.

Wallace (Justin Long) co-hosts a popular podcast with his pal Teddy (Haley Joel Osment), focusing on cruel, mocking cringe humour as part of their mission to keep it “real and raunchy.” After his trip to Winnipeg to interview the “Kill Bill Kid” — a teen whose unfortunate samurai-sword video has gone viral — comes up empty, Wallace decides to make the trip worth his while and find a good story north of the forty-ninth parallel. A handwritten flyer he finds in a bar bathroom leads him to a grizzled old swab (Michael Parks) full of tall tales to share from his life of adventure at sea — and this is where Wallace’s voyage to the Great White North descends into straight-up madness.

Smith has always been an expert at easy banter and snappy jokes, but with Tusk he brings his distinctive sensibility to a whole new dimension of terror and the bizarre.

Be warned: even as it deftly delivers on its outlandish and outrageous concept, the film is also aboot how Americans view Canada — so check your patriotic fervour at the door and prepare for a barrage of Canuck jokes and a steaming-hot double-double of strange.

The post [TIFF ’14] New ‘Tusk’ Imagery Shows Long With a Single Leg appeared first on Bloody Disgusting!.

Released today are the above piece of concept art, showing Long realizing he no longer has legs, as well as a the below production video taking you behind-the-scenes.

A24, who has been on fire as of late, is releasing The Human Centipede-inspired horror in theaters September 19, 2014.

Go behind the scenes of @tuskthemovie as the crew prepares to go full walrus. #WalrusYes https://t.co/z1mKmAiric

— Tusk (@tuskthemovie) September 2, 2014

The post [TIFF ’14] ‘Tusk’ Concept Art Loses Its Legs; Production Video! appeared first on Bloody Disgusting!.

“Yoga Hosers centers on 15-year-old yoga nuts Colleen Collette (Lily-Rose Depp) and Colleen McKenzie (Harley Quinn Smith) who have an after-school job at a Manitoba convenience store called Eh-2-Zed. When an ancient evil rises from beneath Canada’s crust and threatens their big invitation to a Grade 12 party, the Colleens join forces with a legendary man-hunter from Montreal named Guy Lapointe (Depp) to fight for their lives with all seven Charkas, one Warrior Pose at a time.“

Principal photography on Yoga Hosers is underway.

The post Kevin Smith Casts Stan Lee In ‘Yoga Hosers’ appeared first on Bloody Disgusting!.