The Smokin' Movie
- Greg K. Morris
- Jul 31, 2022
- 2 min read
Updated: Sep 29, 2022
Hi, all. Today we're writing about a comedy, which happens to be a favourite movies--New Line Cinema's The Mask. After its 1994 release, it obtained favorable notices and profits. I've been an admirer since childhood. The film's actually a sparse example of a viable 1990s comic book movie. The initial, 1989 issue was distributed by Dark Horse Comics. Though valid and deserving of an eventual, faithful adaptation, it was incredibly gruesome and a niche property. The folks synonymous with the '94 film crafted something palatable for mainstream audiences.
I still admire the CGI! It resembles 2D animation manifested in reality. This film's wardrobe is top-notch, particularly that yellow suit. The makeup officiators transmogrified The Big Head Killer's freakish design into something madcap. Thanks to the scenery people and location-footage, Edge City is a noteworthy setting. Jerry Evans choreographed spectacle production numbers. Randy Elderman's marvelously mounted music and the songs are assets to this flick. Amongst other production values, it benefits from Arthur Coburn editing and John R. Leonetti's cinematography, too.
This film's acted effectually. Its characters contain indelibility. It manages to contain a plethora of performers in notable, smaller parts. An instance includes the singing policewoman from Cuban Pete. One of my favourite performances comes from Nancy Fish as Mrs. Peenman, who nailed the role of a hellish landlady. Ben Stein's drawling monotony is nicely used as Dr. Arthur Neuman. Milo's portrayed by a wonderfully endearing Jack Russell Terrier (with accurate vocal-effects by Frank Welker). Amy Yasbeck is a sociable backstabber as Peggy. Richard Jeni's Charlie managed to balance charm and douchiness. Peter Riegert's a hardnosed, irascible straightperson as Lt. Kellaway, he's aided by Jim Doughan as an enjoyably numbskulled Doyle. Though their masked incarnation could've resembled something from the comic, Peter Greene was legitimately intense, brooding and thuggish as Dorian. As Tina, Cameron Diaz has an availing film debut as a layered bombshell. Jim Carrey thrives with flying colors in this film. Jim's portrayal of The Mask is an unbelievably boisterous, theatrical and cartoonish. Jim's Stanley Ipkiss is actually an incredibly efficacious, beneficial, retable everyguy.
Mike Werb, Michael Fallon and Mark Vernheiden, the film's writers, were aces. The movie reinterprets its source-material. It has snappy dialogue, which you're libel to quote. Its cartoon parodies are top of the notch (the park scene's iffy, though). There's a multitude of assorted, artful, riotousing humor. Stanley and Tina partake in a satisfiable romance. The opening scenes establish Stanley's personality. I'm appreciative of The Mask appearing nearly 20 minutes in. This picture actually has edginess. It empowers nerds. It's sensibly paced and engages a crowd. There's a climax that engrosses. It's crucial to note that the denouement could have led to a superior sequel.
The Mask was quite an odd-defier. Producer Bob Engelman kept things sturdy and afloat. Chuck Russell was so apt and visionary. Their direction resulted in an individualistic, quirky, amusing cinematic experience. It still resonates with me.
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