Happy 22nd Birthday to the man that has my heart 💘 1994.09.22 I’m so lucky to have been with him since he debuted in JJ Project, and I’m so glad he was able to debut again through Got7 to show us all of the wonderful sides to him. Not only is he a great umma to Got7, but he is an amazing actor, singer, song-writer, and choreographer. Please love and support Park Jinyoung not Junior in everything he does! #PrinceJinyoungDay
“I’m never going to be shy about anything, what I write about is what I know; it’s more about my version of the truth as I know it. That’s part of my talent, really - putting the way people really speak into the things I write. My only obligation is to my characters. And they came from where I have been.”
Quentin Tarantino (pictured on the set of Pulp Fiction)
I’m trying not to play it too safe with these Weeklies; it’s a new format for me—and I’m working off a limited quantity of movies, to be sure—but I’m desperately trying to write about material that I haven’t seriously thought about before. Movies I heard about but never saw, movies I have in my collection that have flown under my radar or I just watched for entertainment’s sake and can now contemplate on a higher level are all fair game… Trying something new is hard, but enjoyable. A nice challenge.
And so, I bring you my thoughts on Charles Russell’s 1994 classic, The Mask.
Whenever a film is chock-full of classic movie references—like this one is—it gets serious bonus points, in my book. The ‘90s was rich with clever screenwriting and that grungy, homey-feeling directorial style that colored so many of our home video screens (I still have my VHS player, and it works phenomenally). Back to the film, though… This is Jim Carrey at his finest; he may have risen to stardom on his stand-up routines, but physical jokes and more witty humor are definitely is strong-suits. I had no idea this film was a contender for Best Lead at the Golden Globes, though, but was glad to find that out. Superhero movies nowadays—if The Mask can be called a superhero film—rarely garner the attention of critics, so the fact that it was lauded not only for Carrey’s performance at the Globes but also for its visual effects at the Oscars is really something.
There are plenty of fun bloopers in here—easily noticeable to the trained eye—that add to the wonkiness of the story, without pulling the viewer out of the experience. Satire and fourth-wall breaks abound, making for comedy ahead of its time, and carving a path for irreverent superhero films, like Deadpool, to follow. Well-choreographed musical numbers have stuck with me over the years; studying them now as a student of the screen is fun to watch, to see how much time and effort was put in to getting them as right as possible on-set while still making them fun, while keeping such zaniness from detracting from the overall film at the same time. The set pieces, themselves—what wasn’t filmed on-location in Los Angeles—were vibrant, yet still retained that drab, urban air that made transitions in the film so seamless.
This is an underdog story, like Spider-Man or some other comic book origin tale, but an entertaining one. Though not critically well-received, it’s leaps-and-bounds more awesome than its mid-2000s sequel. In an era full of reboots, re-imaginings, and the like, someone will undoubtedly try to recapture the nostalgia of it, though.
The Mask is one of those films that I grew up loving, but that I can appreciate so much more as an adult; there’s humor galore that only an adult crowd can understand, but that doesn’t mean that the charm is lost for the kiddies. It’s just a fun film, no matter one’s age. I’ll have to look into Dark Horse’s limited comic run of this property, just to see how it relates to the on-screen iteration.
Having continued to thoroughly-enjoy this film through the years, I give it a ****/* ‘Risk Assessment.