Synopsis: When podcaster Wallace Bryton goes missing in the backwoods of Manitoba while interviewing a mysterious seafarer named Howard Howe, his best friend Teddy and girlfriend Allison team with an ex-cop to look for him.
Stars: Justin Long, Michael Parks, Haley Joel Osment, Genesis Rodriguez
Director: Kevin Smith
Running Length: 102 minutes
Trailer Review: Here
TMMM Score: (6/10)
Review: A certain chill washed over me when I saw Tusk on my upcoming screening agenda. Having just seen the trailer and posted a review (see above for the link) I wasn’t sure I was quite ready to see what I knew was in store for me. Also playing a factor is that I’m no fan of writer/director Kevin Smith’s previous work, something many film aficionados feels akin to sacrilege but which I simply chalk up to as not being as interested in what he has to say as others seem to be.
I’m not kidding when I say that walking down the hall into the theater gave me the same sort of chilly willies I get when I’m about to reach the top of a rollercoaster or turn the corner at a haunted house. So I was surprised that 100 minutes later I walked out into the light not only being impressed with the quality of Smith’s work but that I enjoyed it more than I ever thought I could.
As far as movie pitches go, Tusk may herald a new way to throw ideas out seeing that its plot began as a joke on a podcast Smith was involved with. When enough fans voiced their enthusiasm to see a movie made out of a twisted idea, Smith gathered his troops and produced not only Tusk but a companion film, Yoga Hosers, set for release in 2015.
Taking aim at everything from Canadians to naturalists, Tusk concerns a smarmy shock-podcaster (Justin Long) making the most out of his visit to Manitoba by answering an ad placed above a urinal at a kanuk bar by a handicapped man looking for companionship. Traveling to a secluded home in hopes of finding his next great podcast subject, he soon gets tangled up with the mysterious man (Michael Parks, Argo, Django Unchained) who may not be as wheelchair-bound as he presents himself to be. What’s in store for the podcaster is both horrific and horrifically bold in its dedication.
Had Smith turned the dial even a hair more into camp territory, Tusk would have been DOA but as it is the film finds a remarkable sound balance between horror and comedy thanks in no small part to the commitment of Long and Parks to the whacked out premise. Long has never held much appeal as a leading man or even a worthy supporting character, but with Tusk he finally finds a way to make an argument for his legitimacy as an actor. Parks has a long career as a character actor and he easily walks away with the film after delivering the first of several impassioned speeches regarding his history.
It’s when the film strays from Parks and Long that it tends to feel flimsier and less interesting to audiences. Focusing on Long’s girlfriend (Genesis Rodriguez, Man on a Ledge) and his partner in crime (Haley Joel Osment) as they search for their lover/colleague with the help of a Jacques Clouseau-like detective (Guy Lapointe…who looks suspiciously like an A-list Oscar nominated actor under that fake nose and comic French accent), this secondary storyline feels like the padding it is–though it does give Smith the opportunity to show off some of the restraint he’s learned as a maturing director.
All in all, Tusk reminded me of a B-movie you’d catch on late-night TV. It’s not quite as disturbing as it may look but it’s not as gross-out icky as The Human Centipede. Providing the right amount of laughs as well as horrific images you’ll most likely view from in between the fingers that cover your eyes, it’s a well-made midnight feature (probably Smith’s best filmed to date) that works more often than it should.