Reviews: Man On The Moon
This review stinks. Please save yourself some time, and ignore it.
This review is bad. Really bad. You'll save yourself a lot of time if you just leave now. In fact, it's so bad that we had to cut a lot of it. In fact, this is now the end of the review. It's over now. Go outside. Press any key to exit. Goodbye. Haha, got you there, didn't I? In fact, this review is fair to middling, I guess. It isn't liable to be much more of a waste of your time than a Limp Bizkit video. In fact, you'll probably get more out of this. Let's begin. People what say Jim Carrey can't act have a choice between eating a bag of dicks or watching this film. Or Eternal Sunshine. Or The Majestic. Or The Truman Show. Or... ehhhh, you get my point. And Jim Carrey's performance as dadaist comedic genius Andy Kaufman in this movie is nothing less than transformative. I know that's a pretentious word often used by movie critics who want to sound like they know what the fuck they're talking about, but there really is no more fitting a word in the entire dictionary. And believe me, I checked. He gets Kaufman's body language and comedic timing just right. Sometimes Carrey's less... subtle... comedy persona peeps through, but it's easy to overlook since they have certain similarities in style anyways. Lipsyncing to Mighty Mouse's hammy catchphrase'd be right up the alley of either man. I really like that aren't making Kaufman out to be some sort of saint or anything. He's a flawed man who often takes stupid risks to both his personal life and career in his never-ending troll's errand of "behavioural research." It's implied he can't really stop, and that he enjoys it a bit too much to do so anyway. In the end, initially nobody believes him when he contracts cancer at way too early an age to die. Another nice draw is the awesome recreation of late '70s pop culture, from reuniting the cast of Taxi to Andy's glory days as arguably the most hated heel in 20th century pro wrestling. It's a bit weird seeing guys like Jerry Lawler playing his 20-years-younger self, but it tends to brings legitimacy. It strikes a fine balance betweeen the joys of Kaufman's legendary "song-and-dance-man" antics (the gamut of various crowd reactions are a hoot in and of itself) and the sadness of a genius taken too soon. (I'm not joking this time. Piss off.)