THE MASK. Directed by Charles Russell; written by Mike Werb; produced by Bob Engelman for New Line. Starring Jim Carrey and Cameron Diaz. Rated PG-13 (some very minor, very silly, double-entendres; a little violence)
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The Mask is a wild combination of slapstick, physical comedy at its best and state-of-the-art visual effects. Unfortunately, it also tries to be a gangster picture, but that side of the plot just drags the comedy down a few levels; from "really terrific" to "some good laughs, but spread too thin."
Played out in an imaginatively designed "Edge City," the best parts of the movie are almost too original—you can be sure that there are scenes in The Mask unlike anaything you've ever seen before. It's too bad that the basic story couldn't have been fresher.
Both mild-mannered bank clerk Stanley Ipkiss, and The Mask, Stanley's alter-ego, are played by Carrey, who has such an amazingly changeable face that he could almost have played both parts without the elaborate make-up and effects that go into the Mask's appearance.
But as it is, Stanley is transformed into a living cartoon character whenever he puts on the mysterious mask that he fishes out of the river. When he becomes The Mask, he's mischievous, stylish, energetic and obnoxious—and possessed of super-human powers.
He's also impossible not to watch. The combination of Carrey's undeniable talents and what the Industrial Light and Magic effects people can do with a film in post-production is pure dynamite.
It's unfortunate that such an engaging pair of characters (not to mention first-class support from newcomer Diaz and Max, who plays Stanley's dog and has a lot to do with the story) couldn't have found a better plot to act out. Bank heists and mobster double-crosses just detract from enjoyment of The Mask's wildly imaginative antics.
All the same, though, I have to recommend it. Something this new under the sun doesn't come along too often; you can't miss it when it does.
August 17, 1994