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More than anything else, 2008's Yes Man represents a chance for Jim Carrey to reclaim his bygone slapstick glory days following a fleeting, unsuccessful venture into drama (The Number 23) and a restrained period in animation (Horton Hears a Who!). Carrey harkens back to his usual tricks here, aiming to make us laugh the old-fashioned way in this screen adaptation of the novel by satirical British writer Danny Wallace. Admittedly, Yes Man's narrative conceit - a man deciding to change his life by saying "yes" to every opportunity - ostensibly resembles Carrey's 1997 comedy vehicle Liar Liar. Unfortunately, too, every plot-related aspect of Yes Man - the construction of the story, the set-up, the conflict and the resolution - is the definition of predictability. However, Carrey's sincere performance coupled with the laughs, the breezy pacing and the honest-to-goodness chemistry between the two leads successfully invigorates the material. It is utterly enjoyable from start to finish.
Carrey's character here is a lonely, miserable corporate drone named Carl Allen. Due to his depression following a brutal divorce, Carl has given up on life, routinely ignoring his friends Pete (Bradley Cooper) and Rooney (Danny Masterson) as he spends his time watching DVDs alone in his apartment. However, when an old acquaintance (John Michael Higgins) urges Carl to attend a motivational seminar, he ends up enrolling in a personal development program based on a simple principle: say "yes" to every opportunity, invitation or request that presents itself. Carl finds his existence transformed, leading to some startling changes. He develops a relationship with musician/photographer/aerobics instructor Allison (Zooey Deschanel), is unexpectedly promoted at work, builds a stronger bond with his friends, meets several new people, and successfully battles his depression.
Once Carl renounces his pessimism, Yes Man shifts into slapstick overdrive, observing Carl as he gets entangled in amusing situations as a "yes man." He faces challenges ranging from the hilarious (a Harry Potter party) to the downright icky (accepting a sexual favour from an elderly neighbour). The second act is agreeably light-hearted as a result, building a buoyant romance between Carl and Allison, and delivering a healthy dosage of laughs as it moves along at a brisk pace. Eventually the fun is compromised, though, when the movie culminates with a clichéd final act, becoming mired in a mundane break-up-to-make-up scenario. Yes Man remains eminently watchable even at its weakest, but it is slightly disappointing that the movie elects this route. In addition, there is a bit of wasted potential here. With the central premise in play, Carl could have gotten himself into any number of additional situations, especially since the novel actually contained more material. However, there is only so much a single film can contain, and director Peyton Reed keeps the picture on a tight leash throughout its 100-minute runtime.
Amid the silliness, the screenplay - credited to Nicholas Stoller (Forgetting Sarah Marshall), Jared Paul, and Andrew Mogel - has a couple of worthwhile messages to impart: get the most out of life, and be nice to your peers. In fact, while not exactly a profound film, it may leave you pondering all of your recent no's. And who knows, maybe you will choose to become a yes man yourself by the film's end (like this reviewer). Another huge benefit is the songs, some of which were provided by the alternative rock group Eels, while other tracks were performed by Deschanel and her band in the film, Munchausen by Proxy (the coolest band name in history). The songs are catchy, making the flick all the more fun and oddball. Yes Man's eye-watering $70 million budget was put to smart use, as the technical presentation is slick and colourful.
For his performance, Carrey is more restrained than usual, and his character comes across as genuinely likable once he becomes a yes man. His rubber face and manic energy are welcome here, and his enthusiasm helps to sell the jokes. Meanwhile, the impossibly gorgeous and lovely Deschanel (The Happening) represents the film's secret weapon. The actress shrewdly avoids overacting - she's low-key, letting her expressive eyes convey her character's emotions. Furthermore, her singing voice is utterly angelic. The success of any romantic comedy depends on the two leads, and fortunately, even despite an eighteen-year age gap, Deschanel and Carrey share the chemistry necessary for the romance to gain traction. By the end, you'll be rooting for them to get together, which speaks volumes about the effectiveness of the central coupling. Meanwhile, the supporting cast is equally amenable. Cooper (who went on to star in 2009's monster hit The Hangover) and Masterson are likeable as Carl's all-too-tolerant friends, while Terrence Stamp is terrific in his smaller role as the inspiration guru behind the yes man phenomenon. However, New Zealand comedian Rhys Darby arguably makes the most positive impression. In his big-screen debut, Darby emanates charisma and comic energy, playing well alongside Carrey and stealing every scene that he's in.
At the end of the day, Yes Man is an amiable and entertaining feel-good romantic comedy which is never tedious, and is not coated in too much saccharine. The characters are endearing, the premise is intriguing, the gags are amusing, and it encourages its audience to get the most out of life. It's admittedly fluffy, but it's enjoyable fluff, and it's a great deal of fun. And considering the usual standard for contemporary comedies and rom-coms, this is high praise. Say "yes" to Yes Man.
7.2/10
