After a woman leaves a briefcase at the airport terminal, a dumb limo driver and his dumber friend set out on a hilarious cross-country road trip to Aspen to return it.
Ace Ventura, Pet Detective, returns from a spiritual quest to investigate the disappearance of a rare white bat, the sacred animal of a tribe in Africa.
A lonely and mentally disturbed cable guy raised on television just wants a new friend, but his target, a designer, rejects him, with bad consequences.
Timid bank clerk, Stanley Ipkiss (Jim Carrey) Unfortunately, he's too ngentle, and is unable to handle confrontations. After one of the worst days, he finds a mask which depicts Loki, the Norse god of mischief. When he puts it on, he becomes his inner, self: a cartoon wild man. After Ipkiss's alter ego indirectly kills the friend of small time crime boss, Dorian Tyrel (Peter Greene),he wants the green-faced goon destroyed.Written by
Ian Pugh <skypilot@ezaccess.net>
After the Mask pays a visit to the auto body shop, the sign above the door now has pieces broken off that transforms it from saying "Ripley's Auto Finishing" to "Rip Off", showing the mechanics as crooks. See more »
Goofs
After Stanley (as The Mask) uses the Squeeze Me Gently horn and shatters the car windows, (as he walks away) the car no longer has any glass derbies on the hood, nor does it appear to have any recently broken windows. See more »
Quotes
Dorian\Mask:
Ladies and Gentlemen, I will be your host for the remainder of the evening.
See more »
Crazy Credits
When the end credits finish, the film's title logo also appears See more »
Alternate Versions
There is a deleted scene in which The hood rats harassed Stanley and take his watch prior to entering his apartment building and after getting the mask from the polluted river, this explains why he punished the hoodlums and why they asked for the time, it also clarifies when Stanley's landlord ask him if he knows what time it is when he answers that he actually does not See more »
It's hard to use Jim Carrey in a movie. He's very good at his rapid-fire mimicry routine, but how can it ever be anything other than a diversion from both character and story? (Very rarely is it a pleasant diversion. `Ace Ventura' was unendurable.) And yet, what else can you do with him?
The `Mask' solves the problem so neatly it almost cheats. The story is ABOUT someone with a double life - so by day, Carrey does all the character and story stuff, and by night, wearing the mask, he does his stand-up schtick. The two are as integrated as they need to be. It's pulled off with such an air of innocence I can't possibly complain. SOME of the clichés (those to do with the police especially) are so very worn out that even the most thorough of movie-goers is surprised to find them still alive; but the writer seems to have been honestly unaware that they were clichés, so that's okay.
I was told that the film is saturated with animation in-jokes. I couldn't spot very many. Stanley-with-the-mask has the soul of a Tex Avery cartoon character: I suspect that's all there is to it. The computer animation, or the computer-enhancement of Carrey's animation, is tastefully done. It never looks pasted over the top of the footage the way so much computer animation does. (`The Mask' failed to win an Oscar in the special effects category - like so many other more deserving films, it was beaten by `Forrest Gump'.) The Cuban dance numbers are irresistible, as is Stanley's pet dog. Sure, `The Mask' is no masterpiece, but it's a clever, charming film that richly deserved its runaway success.
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It's hard to use Jim Carrey in a movie. He's very good at his rapid-fire mimicry routine, but how can it ever be anything other than a diversion from both character and story? (Very rarely is it a pleasant diversion. `Ace Ventura' was unendurable.) And yet, what else can you do with him?
The `Mask' solves the problem so neatly it almost cheats. The story is ABOUT someone with a double life - so by day, Carrey does all the character and story stuff, and by night, wearing the mask, he does his stand-up schtick. The two are as integrated as they need to be. It's pulled off with such an air of innocence I can't possibly complain. SOME of the clichés (those to do with the police especially) are so very worn out that even the most thorough of movie-goers is surprised to find them still alive; but the writer seems to have been honestly unaware that they were clichés, so that's okay.
I was told that the film is saturated with animation in-jokes. I couldn't spot very many. Stanley-with-the-mask has the soul of a Tex Avery cartoon character: I suspect that's all there is to it. The computer animation, or the computer-enhancement of Carrey's animation, is tastefully done. It never looks pasted over the top of the footage the way so much computer animation does. (`The Mask' failed to win an Oscar in the special effects category - like so many other more deserving films, it was beaten by `Forrest Gump'.) The Cuban dance numbers are irresistible, as is Stanley's pet dog. Sure, `The Mask' is no masterpiece, but it's a clever, charming film that richly deserved its runaway success.