Dumb and Dumber – Soundtrack Review

The Most Annoying Sound In The World
The Most Annoying Sound In The World
One of the best films of 1994 and one of the funniest films of the decade was successful mainly because of the two centralpartnerships- Carrey and Daniels, and theFarrelly Brothers. One of the things you notice upon repeated viewings (although many notice on their first watch) is the high quality soundtrack mostly made up of new music from the era. The only letdown of this CD is that it leaves out a few of the best tracks from the movie, namely `Where I Find My Heaven’ and the older `Can We Still Be Friends’. Whether this was down to legal issues or time constraints I don’t know, but the exclusion is pretty inexcusable. Luckily what is included is a collection of fun, at times humourous songs which will remind fans of the movie of their favourite scenes. Those not familiar or keen on the movie will still find something they like in this eclectic mix, from punk to funk, from whimsicalto poptastic.`The Ballad Of Peter Pumpkinhead’ kicks off the album in a fitting way- it begins at the first part of the lads’ journey in the movie. By the Crash Test Dummies who were riding on a wave of success at the time, and with vocals from Ellen Reid who adds a sweet, almost country twang. It is an upbeat lively cover and in many ways is the film’s theme song given the wacky but tender lyrics. It is a fun, sing-along song with great melodies and nice harmonica work.

`New Age Girl’ has an intro full of madness and humour- everyone knows the duh-duh- raugh chant. Deadeye Dick put plenty of bounce into the offbeat story of a hippy style new age girl, and a series of questions concerning her between friends. It has the most manic and funny lyrics on the album, and has a West Coast pop feel to it. There are many memorable moments, great melodies, and it is an interesting take on the traditional love song. Once again this seems to go well with the characters and plot of the film not least because of Mary.

`Insomniac’ is a good song by Echobelly, full of Britpop melodies and angst. Jangly guitars playing alongside Sonya Madan’s sultry, off kilter tones are the main focus. Strong lyrics involving love, sex, and the terrible effects these can have on you.

`If You Don’t Love Me I’ll Kill Myself’ is a staunchly Yankee song sandwiched between 2 Euro songs, and has an almost country feel to it. I like the sentiment- a feeling I’m sure most romantics and losers in love have felt, I like the lyrics as a whole, and the music is quite jaunty and bouncy rather than going for the obvious stream of minor chords.

`Crash’ is the popular song by The Primitives; here it is the slightly different 95 mix. Again it is a fast, fun, upbeat song although the lyrics are pretty dark for such a catchy pop song. This is probably the most famous song on the album and again it suits the film’s road movie, collision course story perfectly.

`Whiney Whiney’ is a song I tend to skip- mainly because that whole Shaggy sounding rough Caribbean sound grates on me. Having said that, it is catchy enough and is a humourous pastiche of a host of other songs.

`Hurdy Gurdy Man’ by the Butthole Surfers is a song which I can take or leave- some days I enjoy it, sometimes it is annoying. It is tuneless for the most part with transparent melodies, but the overall hurdy gurdy effect I like more than dislike. Again though this is a song which often gets the skip treatment.

`Too Much Of A Good Thing’ is probably my favourite song in the movie and on the soundtrack, featuring in a couple of scenes. The central chords are memorable, the lyrics are very good, and there is quite a moody late night feel throughout. There are a couple of quiet breaks before the conclusion meaning it almost becomes a mini epic. Of the songs used here that were not a hit, this one deserved that status the most.

`The Bear Song’ is certainly the heaviest song on the album with heavy distorted guitars and a swirling bass riff. The lyrics are suitably insane repeating over and over and it features some odd impressions. The song is related to the infamous pepper scene of the movie; both build up steadily to the selling point.

`Take’ continues the heavy song flow and is an almost grunge tone. There are angry riffs which complement angrier lyrics. It stands out from the other melancholy songs because of this fact, while the other songs usually cover up the downbeat nature of the words with a jolly, blue sky sound. Luckily the melodies here are fine, though in the grand scheme of things it’s just an average angst ridden rock song.

`You Sexy Thing’ is an instant skip- I’ve yet to hear a version of this I like and this is amongst the worst. It tries to be different, it adds some funky twists, but even though I see that Lamborghini when I hear it, I still have to skip.

`Get Ready’ closes the album in an effective enough way- The Proclaimers seem like a suitable musical match to Harry and Lloyd. Upbeat and up tempo it doesn’t leave any bad tastes, though it isn’t outstanding in any way. The lyrics again reflect the love story and journey of the characters, and it is fuelled by a bluesy rhythm and shout along chorus.

Overall this is a strong soundtrack to accompany one of my personal favourite films. The songs have been nicely selected to suit the varying, albeit limited, moods of the film- from up tempo fun, downbeat and tender, to hysterical distortion. A good soundtrack should be capable of standing on its own feet, the problem is usually coherence- it’s just a bunch of songs strewn together with no semblance of continuity of relativity. Naturally if you’re a fan of the film in question this coherence comes from your own relationship to the film- as you listen you recall your favourite parts. Dumb and Dumber strikes a chord between your fond memories and being a collection of average to great songs.

What’s your favourite song from the album? Do you think the missing tracks are a huge downer? Pretty bird?

Hilarious Translations Of Song Lyrics – August 2014 Part 1

Please note – the following hilarious translations are not the same as the equally hilarious misheard lyrics, nor are they actual translations currently out there in Pop Land. All I have done is taken a famous song and slapped the lyrics into one of the famous (ly bad) Internet Translation tools – translated from English into Korean, then back into English, with hilarious results. I picked Korean because, based on previous experience, it seems to struggle in the funniest way with the English language, and vice versa. Each week, I’m going to select some of the most famous songs of all times, of recent times, and throw in a few obscure favourites too, all for your enjoyment! Lets start the laughter right now!

That’s All Right, Mama.

For our first song we go al the back to one of songs that started it all. Arthur Crudup’ s Blues Rocker was sexual, up-tempo, and featured some early guitar God fingering (good night, everybody!). Once Elvis got a hold of it, the rest of the world caught right on. Let’s take a look at the original lyrics.

Well, now that’s all right, mama. That’s all right for you. That’s all right mama, anyway you do.

But, that’s all right, that’s all right. That’s all right now mama, anyway you do

Well mama, mama she done told me, Papa told me too. They love you leavin’ son now. We’ll be there for you

That’s all right, that’s all right. That’s all right now mama, anyway you do. Yeah man

Baby one and one is two, Two and two is four, I love that woman but I’ve to let her go

But, that’s all right, that’s all right, That’s all right now mama, anyway you do

Babe now you don’t want me, why not tell me so? You won’t be bothered with me ‘Round you have no more

But, that’s all right, that’s all right, That’s all right now mama, anyway you do.

The Translation:

Well, now, all right, Mom, It’s all right for you. In other words, whatever you do, love, mom

However, that‘s all right, that‘s all right. That is, after all, you’re all mothers now

Then she told me to do the mom Mom. Dad told me.They leave a son now loves. We‘ll be there for you

That is, all right, that‘s all right. That is, after all, you’re all mothers now
Four people, The baby one two, one 2 is a two to four. I love her, but I let her

However, that‘s all right, that‘s all right. That is, after all, you’re all mothers now

Lady you do not want to tell me now, why? You do not bother me. You are no more abnormal round

However, that‘s all right, that‘s all right. That is, after all, you’re all mothers now.

The WTF:
We seem to have turned a fairly simply tale of love, rejection, heartache, and passive aggressive acceptance into a monstrous tale about Oedipal lust and mental breakdown, one which will surely end in a women-hating, serial killing rampage. The almost passive tone of the original becomes immediately cynical with the opening couple of lines, ending with the ominous ‘You’re all mothers now’. That is the sound of a man who has made the conscious decision to see the face of his mother on every women he sees. What it is Mom did is left unclear, and could it be that there are actually two ‘Moms’? The narrator switches between ‘Mom’ and mom at will, and finally the moniker ‘Lady’ appears – clearly the narrator recognises that his next victim is not his mother, or that the mother he thought he knew is now foreign to him. But what to make of the centrepiece? Most of the song is the same few rambling, confused thoughts, but in the middle we get the clusterfuck ‘Four people, The baby one two, one 2 is a two to four. I love her, but I let her’. Who are the four people – son, Mom, mom, Dad? Who, or whose, is the baby? This is the point in the narrative process that our hero loses the plot and starts thinking in random, nonsensical equations. Perhaps we get close to some sort of reasoning with ‘I love her, but I let her’, but he stops short of explaining exactly what it is he let her do. This is a secret the man will take to the grave. And he seems quite keen to take a few more mothers with him before he blows himself away at the end of an exciting, probably naked, car chase.

Too Much Of A Good Thing.

I was praying we would get something light-hearted after that gristly ending when I hit shuffle on my iPod, but I landed on another tale of lost love, courtesy of The Sons. If any of you out there recognise this song, it’s because you heard it while watching Dumb And Dumber. One thing to note is that this song has some interesting lyrics, and poetically selected words that you would assume would not translate well between English and Korean. Under such circumstances, hilarity is bound to ensue. Here we go:

The Original:

There’s a chill in the air comin’ off the river tonight, Sure am glad I chose my sweater,
Walk alone, I walk alone tonight,Yeah, I’ve felt better.
But I know, in my heart, One car in an alley is better than a vacant lot,
And you’ll see, on my face,Lines on a young man can find their place.

Baby, I have left so much behind, Until I passed the same place twice
Now I see just what ya done to me, Too much of a good thing.

Can you hold the line,another call’s comin’ in, Might be the one I just got over,
Back and forth and up again, For just a wrong number.
But to scream a good cry, Could leave me naked in some stranger’s eyes,
So I’ll whisper, a little cry, Hope this memory’ll soon pass by. Ooh.

Baby, I got feelin’s old and strong, I did not think they’ll last this long, Tell me why your light keeps turnin’ on,
I say too much of a good thing. Too much of a good thing.

A lonely voice finds little demand, it turns too shy and afraid to make a stand.

For one last time can’t you listen to me, Baby don’t let me go silently

You’re too much, you’re too much. You’re too much of a good thing, You’re too much of a good thing, too much
Much too, much too, much too, much too, much too, much too, much too much, You’re too much of a good thing.

The Translation:

The chill is in the air coming off the night today river, Of course, I’m glad I choose the sweater
Walk alone, I walk alone at night, Yeah, well, I thought.
But in my mind, you know, The car is better than a vacant lot in the alley,
And you can see my face You can find their place in line to a young man.

Baby, it remains very much I until it passes the same place twice
Now, do me just what ya see The good thing is too much.

You can hold the line, Import of other currencies‘, I just got one that can be,
Maximum back and forth Just wrong.
But a good cry scream You leave me naked in the eyes of the stranger
So, I whispered a little cry, Please memory’ll passing quickly. Right.

Baby, I‘m an old strong feeling I did not think they‘d be able to last for so long,
Turn in the light of why do you say, I say too much of a good thing.
The good thing is too much.

The WTF:

Well, where to begin? Once again, the song takes a cynical turn – the original being more of an anguished cry of depression, and once again the narrator experiences severe bouts of confusion, mumbling over his words like a scarecrow brought to life by the blackest of magic, and then being fed magic mushrooms. To his credit, he starts of stable enough, glad he chose a sweater for a late night walk, but a glimpse of his mind shows that all is not well – ‘The car is better than a vacant lot in the alley‘. What precisely does he mean? Is this a literal statement, that a car is better than nothing? Did he see something which sparked this? Or is he thinking that a car is better than a vacant lot to perform some fell action? Whatever it is, he appears to make a swift exit as someone sees his face and he runs off. ‘Do me just what ya see’ – is this something you say to a prostitute, or something you say as a final act of defiance to a torturer? After this we get some bizarre talk of currency, screaming, nudity in front of strangers, and the haunting ‘Maximum back and forth Just wrong‘. The torture theme comes round and round again as the protagonist seems to have achieved a higher state of being – removing his spirit from his body yet not understanding why, or how ‘they’d be able to last for so long’. Who ‘they’ are, it may be best to not know.

In conclusion, my first two songs walked a much darker path to hilarity than I expected, and any laughs to be found therein are likely the laughs of a madman as he rises from behind your sofa, blade in one hand, and decapitated doll’s head on the other. Sweet dreams.

Top 50 Moments Series – Dialogue, Part 1

Today I introduce the first in a self-indulgent new series nicked from a variety of other sites and blogs. According to my Stats page, most people come here for my music lists (although according to my daily search engine hits, most people come here to see ‘Sigourney Weaver nude’, ‘Scared Kids pics’, and ‘Sigourney Weaver nakdt’…). A lot of people have doing lists like ’25 awesome moments in cinema’ or ’25 favourite scenes from the movies) based off their own favourite films. So, not to left with my pants down, I’ve decided to avoid the Streaker Police and present some of my faves. I created my list of top 150 films on IMDB way back in ‘ought 3’. Although some of those films will likely have been usurped by others since then, I haven’t been arsed to ever change it. So it remains a snapshot of my awesome student self.

Me Being Awesome… but which one?

I’ve decided to expand the number from 25 to 50, because when I looked at some of the films just outside that arbitrary number, I was missing too many classics. I’ll probably throw in a few bonus moments for films not in my top 50 and some of the films (such as Star Wars Trilogy) are on IMDB as a single entity, so I may split those up. So really, it’s a bullshitty mess, and another way for me to talk about movies instead of going out and doing cool stuff like meeting friends and stalking Sigourney Weaver (seriously, every day that search option appears more times than is normal, and I don’t even know why). While most lists have focused on general terms or several different ‘types of moment’ within one list, I think I’ll spread the love and do a dedicated list for each type, ranging from favourite line of dialogue to favourite overall moment. Feel free to give your choices in the comments, or mock me for mine. My list will follow the order of my top 50 films, not necessarily my top 50 moments. Maybe at some point I’ll get round to doing something for TV and music, for those people who actually read this blog. So, without further Apu, I give you:

My 50 (or so) favourite lines of dialogue… FROM THE MOVIES!

1. Star Wars Trilogy. (1977-1983, Lucas, Kershner, Marquand). Well well, these 3 films combined have probably been quoted more by fans, geeks, people who have never even seen them, and by characters in other films, than any other film in the history of ever. Every central character has at least one great line (even some of the bit players get cool dialogue), and for a trilogy packed with central characters you can be sure there will be a moment of pop culture brilliance every few minutes. I’m sure you have your favourites.

A New Hope: Poor little Admiral Motti is frustrated that LORD Vader does not approve of their new BFG and that has not yet found the rebel fortress. In a public forum his complaints are perhaps valid, but he goes about things the wrong way, flatly accusing Vader of being an old fool. If you didn’t know by this stage in the film that Vader was evil, powerful, and fucking awesome, then after he utters his next line, you will. Making the slightest of motions with his hand, Vader performs a deadly choking trick on Motti, who soon regrets ever being born. Vader coldly, simply adds: I find your lack of faith disturbing.

The Empire Strikes Back: As The Empire tries to rebuild after suffering some huge blows in the first film, Skywalker finds himself training in the ways of The Force and being drawn to Vader. Meanwhile loveable rogue Han Solo has been trying his luck with the feisty Princess Leia. In true tragic form though, Solo is captured by the bad guys due to a bounty on his head. Rather than kill Solo, the bad guys wish to freeze him as a prize for the as yet unseen Jabba The Hutt. As Solo is led to his destiny, Leia finally reveals her feelings: ‘I love you’. Han, always striving for the coolest way to respond simply adds: ‘I know’. Does this make him a dick? Does it make him even more epic? Yes yes yes.

My joint favourite quote from Empire is the little exchange between Luke and Yoda where they discuss coming up against their foe. Luke, having spent at least one montage’s worth of training with everyone’s favourite space goblin is full of fire and optimism: ‘I’m not afraid’. Yoda brings him back to earth though with the immortal: ‘you will be… you will be.’

Return Of The Jedi: ‘It’s a trap!’ That is all.

2. The Terminator. (1984, Cameron): Also known as the Greatest Love Story Ever Told, The Terminator has it’s fair share of memorable one liners and dialogue. Everyone knows Arnie’s ‘I’ll be back’, but what about such other classics as ‘Get out’? When you’ve watched the film 50 million times, a few other nuggets of wisdom stand out. Even nothing characters become immortal. From ‘Hey buddy, did you just see a real bright light?’ to ‘Nice night for a walk’ to ‘Yo momma’ and even ‘You got a dead cat in there, or what?’

My favourite line changes from day-to-day, as it does for most of these films. While Sarah is still a little rough around the edges for most of the film, almost every word Reece utters kicks ass from ‘Pain can be controlled’ to ‘I didn’t build the fucking thing!’ to ‘Come with me if you want to live’. Although the entire exchange between Reece and Silberman is gold and has many classics, it’s Reece’s demented speech to Sarah about The Terminator which stands tall: ‘Listen, and understand. That terminator is out there. It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever, until you are dead’.

3. T2. (1991, Cameron). With T2, we have no Reece to rely on anymore, but now that Sarah is bad-ass,Arnie is a good guy, and John is around we have even more great one-liners. I could go on about some of the excellent exchanges involving Arnie ‘I need your clothes, your boots, and your motorcycle’…’Your foster parents are dead’… ‘What’s wrong with your eyes?’… ‘Why?’… ‘Uncle Bob?’ and so on, or some of the madness spouted by Sarah to Silverman, or even some of one-off comedy pieces, from ‘shut up, you worthless piece of shit’ to ‘Your foster parents are kinda dicks, huh?’ and ‘The Galleria?’

But no, my choice is the one line which for over a decade was the over-riding message of the film, which sadly (though inevitably?) became a lie as the movies progressed. It’s one of the two central themes stamped all over T2 (the other being ‘Because if a machine, a Terminator, can learn the value of human life, maybe we can too’) and while Sarah carves it into a table, John is the one to say it: ‘There’s no fate but what we make for ourselves’. Live by it, kids!

4. Predator. (1987, McTiernan): I’m gonna have me some fun with this one. Another Arnie classic, and another movie that I always get drawn into watching if I catch a snippet on TV. A lot of this is down to the action of course, but the dialogue ensures this isn’t just another by the numbers run and gun flick. Shane Black even  features, but as an actor, not a writer. While most of the testosterone charged 80s action movies had their fair share of one liners (usually accompanying a death a la Bond), Predator is quotable for most daily situations: waiting for toilet to become available? ‘Son of a bitch is dug in like an Alabama tick’. Someone shows interest in what you’re having for lunch? ‘This stuff will make you a god damned sexual Tyrannosaurus, just like me’. Late for the train? ‘Get to da chopper!’ (particularly good to scream at the top of your lungs to no-one in particular as you race through the crowded station). Anything? ‘Come on… Come on! Do it! Do it!’ My favourite today though comes near the start of the movie as our crack team is trying to take out a group of expendables. Future not-President Jessie Ventura gets hurt and starts to bleed. Poncho tells Jessie he’s bleeding. Jessie replies ‘I ain’t got time to bleed’. I’ll let you think up some appropriate scenarios for usage.

Me, having me some fun… but which one?

5. Robocop. (1987, Verhoeven): It’s always been my opinion that Robocop is the most quotable film ever. I’m fairly certain I could get through a normal day, inlcuding navigating work, family, and friends, by only using Robocop dialogue. Hell, even the watered down TV versions have their own hilarious twists on the original dialogue- ‘you’re gonna be a baaad mother-crusher’ gets used at least once a week. So picking a favourite quote from Robocop would be like Ron Jeremy picking his favourite boob. On the rare occasion that I swear in public, there’s usually a Robocop twist- ‘Fuck you’ becomes (in Steve Minh’s voice) ‘oh.. (pause for shotgun cocking… ooh-er) fuck you!’ Even my Spac Review (link) of Robocop is simply a list of the best lines given the Spac treatment. So, while I’m not terrifying my daughter when she won’t sit still to get her nappy changed by saying ‘Come quietly or there will be…. trouble!’ or instigating divorce proceedings by telling my wife (invoking voice of Clarence) to ‘just gimme my fuckin phone call’ instead of asking where I put my cell phone, what do I think my current fave line is? ‘Tastes like babyfood’? No. ‘Stay out of trouble’? No. ‘Murphy, it’s you’? No. ‘NANANANANANANANANA!’? Close. Jeebus, I really don’t know. Let’s just wrap it up and say that today, my favourite Robocop line is ‘Can you flyyyy, Bobby?’

6. A Nightmare on Elm Street Part 1. (1984, Craven). Wes Craven has a way of being the coolest director, teacher, dad, for teenage audiences. Most of his early films are based around the mistakes of our parents and predecessors and focus on how the kids have to deal with the carnage and aftermath. There is a definite mistrust of the older generation and a cosy, accurate depiction of camaraderie between friends. As a young viewer to all things Freddy, this was a revelation- those whose job it is to protect us may be useless and just as dangerous as  those whose job it is to hurt us. So, Nancy, one of the original and best Final Girls remains an inspiration as she turns to her friends, and finally herself to escape: ‘I’m into survival’.

7. Conan the Barbarian. (1982, Milius): Right wing maestro John Milius never seems to get the credit he deserves- writing such classics as Apocalypse Now, Dirty Harry, and under-appreciated flicks like Big Wednesday. Conan The Barbarian, in my tiny opinion, is shining moment both as a writer and director. There are right field leanings, obviously, but given the source material that sort of thing can be overlooked. Underneath the general carnage there are plenty of philosophical whispers and posturing, and many opposing ideas on power- how to gain it and how to keep it. The opening quote paraphrased from Nietzche – ‘That which does not kill us makes us stronger’ may be overused and as such weakened these days, but it has never been more appropriately attached as here. The opening massacre leads both to Conan’s growth and fate. While the big man doesn’t speak much himself, when he does it is to answer a riddle posed by another, or to scream while beheading someone.

Obviously there are great liners that everyone knows, from Conan’s ‘To crush your enemies, see them driven before you, and to hear the lamentation of their women’ to Valeria’s ‘All the gods, they cannot sever us. If I were dead and you were still fighting for life, I’d come back from the darkness. Back from the pit of hell to fight at your side’. However, Thulsa Doom gets the best lines (and name) and one of his best gets my vote: ‘Contemplate this on the tree of woe’. It’s not only the way that quote rolls beautifully off the tongue, but the way Jones delivers it with such disdain. Throughout the film he seems so bored with everything he sees, so passive with his power, and so pissed when he sees the strong failing to live up to his expectations.

8. Ringu. (1998, Nakata): The Japanese original Ring film is renowned for its scares, its atmosphere, its performances, and its climax. Off the top of my head I couldn’t think of any real zingers, although ‘Frolic in brine, goblins be thine’ has always haunted me ever since I first heard it.

9. Dumb and Dumber. (1994, Farrelly bros): Like most of my top 10, I quote from this one on a weekly basis, borrowing from main and small characters alike. Unfortunately in this part of the world, beverages rarely come grossly super-sized, so I don’t often get the chance to say ‘Big Gulps, huh? All right!’ but for general annoyance ‘We got no food, no jobs… our PETS’ HEADS ARE FALLING OFF!’ has served me well. ‘Let’s not’ (complete with Austrian accent) gets a solid hearing every so often, ‘suck me sideways’ is regular, as is ‘pretty bird!’ I’ll go for something a little different for Dumb and Dumber and pick, not a quote, but a sound. The most annoying sound in the world apparently. ‘EEEEEHHHHHHHHHH!’

10. Police Academy. (1984, Wilson): One of the original spawners of bad sequels, the original Police Academy remains a glorious snapshot of 80s madness. While there are the usual National Lampoon style visual gags and set pieces, these are offset by plenty of humourous pieces of dialogue. Mahoney gets the obvious dialogue, while Jones gets the laugh out loud noise moments, but there are tonnes of smaller, juvenile lines. ‘Your move, Mahomo’ for some reason always makes me giggle, but it is Lassard who gets the best lines. His many monologues and asides always bring laughter tears, my favourite being his podium speech. It’s not necessarily the quality of the dialogue (immature of course) but the delivery, with my highlight being ‘sliiiiiide!’

Come back soon for the next set of films and some more Booker Prize winning dialogue, and don’t forget to leave your favorites from the films mentioned above in the comments, and throw in favourites from films not mentioned!

Dumb And Dumber

Dumb And Dumber

In the 90’s the Farrelly brothers brought a new stream of gross-out toilet humour to the movies, and with Dumb and Dumber they hit their peak. There’s Something About Mary may have been a bigger critical hit, but this film, uniting the talents of Carrey and Daniels is the funniest film of the decade, and for fans of this kind of humour, it is the best comedy ever. If you like your jokes subtle, or Frasier style then be warned-here we have lewd sexual jokes, making fun of blind kids, drinking urine, and laxatives…

Dumb and Dumber is above all a road movie, following two friends who are dumber than the average person across America in search of a woman who left her briefcase behind. Lloyd (Carrey) works as a chauffeur, and after taking a beautiful woman to the airport he realises she has forgotten her briefcase. He takes it, intending to give it back to her, getting fired in the process. Unknown to him, she left it on purpose as it was full of money for the mob. Soon two hit men are after Lloyd. His friend Harry looks after dogs, and after he messes up another job he too is fired. After hitting rock bottom they decide to look for the briefcase girl, as Lloyd has fallen for her and hopes that she will love him when he returns her case. All he knows though is she is called Mary, and was going to Aspen. So they head out on the road. Along the way the get into a few scrapes, encounter the hit men, get lost, but eventually make it. When they find Mary, Harry goes on a date with her leaving Lloyd jealous. But they are both kidnapped leaving Lloyd to save the day.

This is Carrey’s funniest performance, every second he is on screen will make you laugh. Daniels is the perfect support, being equally dumb but letting Carrey steal the show. Holly is very good as Mary also, and the rest of the cast are good in mostly small parts, from the hit men to Sea-bass. The cinematography is very good for a comedy, exploiting the scenery to its fullest, the soundtrack is brilliant, and the plot is hardly complex, but nor is it simple. Funny moment are everywhere, and everyone has their favourites. Mine- the fact that when Harry asks Lloyd to buy only the bare essentials as they have no money left, then Lloyd goes and buys a jumbo hat etc, the dream sequence featuring lighting farts and a vicious fight, the Sea-Bass sequence, and the snowball Harry throws at Mary, yes laughing as i type (must watch it later). Other moments include, ‘Pretty bird’, ‘Tick-tack sir?’, the laxatives, and various one-liners. Aside from all the jokes, the film has a charm about it, the two friends are constant losers but we love them anyway. 1994 was a magnificent year for movies, many of my favourites come from then, and this is undoubtedly one of the best.

This DVD restores many cut scenes, and includes other deleted parts some of which are funny, others which are mildy amusing. This is probably the best version of the film yet, and as it’s cheap you should snap it up now.

As always, feel free to leave any comments on the movie and the review. Is this the high point in Carrey’s career? Did you prefer this over There’s Something About Mary?