The Mask Review
by Scott Renshaw (AS DOT IDC AT forsythe DOT stanford DOT edu)August 1st, 1994
THE MASK
A film review by Scott Renshaw
Copyright 1994 Scott Renshaw
Starring: Jim Carrey, Cameron Diaz, Peter Riegert, Peter Greene, Richard Jeni, Amy Yasbeck.
Screenplay: Mike Werb.
Director: Charles Russell.
Either you "get" Jim Carrey, or you don't. All right, maybe there's a little middle ground, but not much. Carrey is turning into one of those performers who inspires as much head-shaking among his detractors as laughter among his fans. Apparently my Carrey Threshhold is higher than that of most critics; I enjoyed his ACE VENTURA shtick while all about me were hurling brickbats. Now he gets to carry a big budget summer fx comedy, THE MASK. And once again, his manic gifts turn a wafer-thin story into a real guilty pleasure. As lively as the special effects are, THE MASK would be a loud dud without Jim Carrey's unique talents.
Carrey stars as Stanley Ipkiss, a milquetoast bank clerk who frequently finds himself on the receiving end of life's splashed puddles. One evening after his car breaks down, Stanley finds a strange mask floating in the ocean. When he puts the mask on, he becomes a superhuman whirling dervish, seemingly able to make his every whim a reality, including winning the attentions of beautiful night club singer Tina Carlyle (Cameron Diaz). However, The Mask also draws the attention of Tina's shady boyfriend Dorian (Peter Greene) when he interferes in a bank heist Dorian is orchestrating, and of a stoic police detective (Peter Riegert) for the same reason. Much to his own amazement, Stanley becomes a real superhero, fighting crime to save the day.
If the underlying premise of THE MASK seems familiar--mild- mannered guy is affected by supernatural forces and finds his innermost desires released--it's because it was already done this summer in WOLF, right down to the detail of how the same phenomenon has a different effect on people with different "true natures." WOLF handled the theme much better, but it was a more stylish film in many ways. THE MASK is full of cookie-cutter small-time hoods better suited for comic relief than for any real villainy, which makes Stanley's predicament much less interesting. In fact, it's probably safe to say that nothing in THE MASK would be at all interesting without its inventive visuals and Jim Carrey's rubbery mug.
Fortunately, THE MASK does have those elements, and they make for a dizzying ride. The computer graphics which turn Carrey into a walking Tex Avery cartoon are delightful, granting him a lunatic arsenal of tricks. The most whimsical use of ILM magic might be the Mask's effect on another cast member, Stanley's scene-stealing dog Milo, in a hilarious bit from the final showdown. Special kudos also should go to the makeup team headed by Greg Cannom, which has managed the challenging task of making Carrey's Mask distinctly otherworldly without obscuring his malleable features. With so much technical wizardry flying around, it might be easy to overlook the art direction and set decoration, from Stanley's apartment to the Coco Bongo Club, all of which are perfectly in tune with the comic book atmosphere of THE MASK. All these elements are skillfully combined by director Charles Russell (who was "Chuck" Russell when directing low-budget pics like A NIGHTMARE ON ELM STREET 3).
Then there is 1994's boy wonder, Jim Carrey, who turns in a performance so energetic it should probably be regulated. He goes Robin Williams' ALADDIN Genie one better, using his own face and body as often as any cinematic chicanery to become a gallery of characters. He is the single best reason to see THE MASK, and he truly must be seen to be believed. Surprisingly, he actually gets supporting help, particularly from Peter Riegert, effectively deadpan as the no-nonsense cop. There are flat spots, like the sluggish performance of Richard Jeni as Stanley's friend and co-worker, and the aforementioned yawn-inducing villains. The bottom line is this: if you can appreciate the idea of a group of police officers involuntarily joining The Mask in a performance of "Cuban Pete, and if Carrey doesn't make you cringe, THE MASK will fit you perfectly.
On the Renshaw scale of 0 to 10 masks: 7.
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Scott Renshaw
Stanford University
Office of the General Counsel
Originally posted in the rec.arts.movies.reviews newsgroup. Copyright belongs to original author unless otherwise stated. We take no responsibilities nor do we endorse the contents of this review.
