Directed by Kevin Smith
Starring Justin Long, Michael Parks, Haley Joel Osment
Review by Jordan
Kevin Smith, fresh off the career re-defining cult thriller Red State could seemingly do no wrong, being close to an early retirement and continuing strongly with his pioneering podcast and no doubt still fending off the crazed mobs sent into jubilation after Clerks III rumors hit the internet.
A generation X icon, Smith’s foul-mouthed, pop-culture savvy and often sentimental scripts are endeared to the hearts of many, with his fan service Jay and Silent Bob Strike Back being one of the most beloved cult films around. Beloved being the exact last word that springs to mind when contemplating his latest outing…
You see, Tusk is only a word, the reality is much, much worse…
Saved in part by yet another mesmerizing Michael Parks performance, who appears trained to steal any scene he’s in (See also Red State, From Dusk Till Dawn and We Are What We Are), Tusk is otherwise a dreary effort as both a comedy and horror film, mired down by ugly characters, predictability (which should absolutely not exist in a tale of a pod-caster being mutilated and turned into a walrus) and one of the worst cameos in recent memory. There are a lot of critics of the cameo, who believe that it takes away from the fictional aspects of a film as it focuses on an actor and not a character, and after viewing this I am open to hear that argument, but what makes matters even worse that this French-Canadian monstrosity is that Tusk was my most anticipated film of 2014… shame.
The story of highly unlikable new-media jerk Wallace (Justin Long), who disappears in Canada while on the trail of an interesting new story to exploit and is searched for by his stunning yet emotionally unstable, self loathing (sigh) girlfriend Ally (Genesis Rodriguez) and seemingly more grounded best mate Teddy (Haley Joel Osment – yes, it’s very weird seeing him again) isn’t without its moments of humor, most coming from Smith’s derogatory view of America’s northern neighbor and some absurdest images involving ecstatic former seafarers and uncoordinated, plump giant mammals, but the relationships between these characters are all so frustrating, and the randomness of events without being sufficiently entertaining test the viewers patience until we feel what Wallace is feeling in all the wrong ways.
A deranged misfire that revels in its grotesqueness, seemingly made for an audience so small one doubts it actually exists, the best possible outcome that can befall Tusk is that it sinks to the bottom of the ocean of obscurity like a helpless walrus, unable to again resurface to taint the career of a great film-maker.