I skipped Yes Man, but here’s my buddy’s review:
Teddy’s Take on Yes Man
“Yes Man” (new in theaters Friday, Dec. 19) is Jim Carrey’s first outright studio comedy since “Bruce Almighty” five years ago, and that in and of itself is reason for the movie to be something of a minor event. At 46, there is no getting around the fact that Carrey is starting to show signs of age up there on the big screen.
When he mugs for the camera, that great rubbery clown face of his now shows all sorts of interesting laugh lines, wrinkles and crow’s feet that weren’t there during his “Dumb and Dumber”/“Ace Ventura” heyday.
But “Yes Man” is a good comedy. It’s not great. It works best as a date movie or a change-of-pace flick sandwiched between screenings of the more heady, serious Oscar fare now playing. Carrey is Carl Allen, a Los Angeles loan officer who has either been told “no” most of his life or told others “no” more times than not when asked for home and business loans (imagine the poor bastard now!)
Carl is a guy who has given up on life on a very fundamental level until one day a free-spirited, old buddy (John Michael Higgins) gives him some literature on a motivational speaker he claims changed his life. The man’s name is Terrence Bundley, and his movement is to create a legion of “Yes Men” who say “yes” to all that life has to offer. Carl misinterprets the message and believes he must say “yes” to anything and everything.
When the first few affirmatives lead him to find a new lady love (Zooey Deschanel) and a promotion, he starts to become a “yes” addict.
Directed by Peyton Reed, there is no getting around the obvious mechanics of the plot. This is not a terribly graceful flick. And there were probably a LOT more laughs that could have been mined from this premise. But “Yes Man” does serve as cinematic proof of the importance of good casting. If this were a Robin Williams or Matthew McConaughey vehicle, I’d probably be removing forks from my eyeballs about now. But Carrey sells this pic and proves once again what an underrated romantic lead he is in addition to his zany physical comedy.
As she was in “Elf,” Deschanel proves to be the film’s most valuable player, though. There is a LOT going on behind those big eyes of her. Mischief, sarcasm, savvy. She appears WAY younger than Carrey on screen, but she’s so good as free-spirit singer/photographer Allison that you buy the pairing because you know Carrey’s considerable comic gifts will not overwhelm what she brings to the table.
Jim Carrey comedies are usually sold on their bigger, zanier moments. But “Yes Man” is most effective in the little things it does, such as Carl and Allison’s unforced word ballets or the wonderful twist involving Homeland Security. There’s also a brilliant skewering of self-help scammers, with the great Terence Stamp cameoing as a cross between Zig Zigler and General Zod.
Mark Everett of the Eels shares composer credit for the film, and several fine Eels tunes factor into the story. Reed and a trio of screenwriters also make terrific use of some great and underused L.A. locations, such as the Hollywood Bowl and the Griffith Park Observatory.
But it’s Carrey’s show. Remember that scene in “Batman Forever” when Carrey as the Riddler goes all manic on Batman and Robin and then asks aloud: “Was that over the top?! I can never tell!” That kind of became the signature line of his early success. He doesn’t go over the top here, which may prove disappointing to some.
But there are flashes of his former greatness, such as the scene where a drunken Carl gets into an alley fight with a massive biker-type. Marvel at the Ray Bolger-like dexterity Carrey summons in playing a character who can barely stand, trying to avoid punches that would send him to the ground.
Yeah, the movie could have been funnier. It could have been fresher. It certainly could have been tighter (the film runs nearly two hours). But if you like to laugh and you’re a fan of Jim Carrey, don’t say maybe to “Yes Man.” Say, yes.
“Yes Man” is rated PG-13 for language, some comic violence and brief nudity.
