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Pretty Good

Lack of good storyline.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Great movie. Not sure what people expected but I found it highly entertaining.

Franz Kafka's "A Report To An Academy" is the story of an ape testifying before an academy the story of how he learned to speak and think like a human and why. Though he comes to love music and eventually accepts his fate, he admits that he only began learning from his human teachers as a way to escape from his cage. Michel Gondry's "Human Nature", is one of the earliest Charlie Kaufman(Bieng John Malkovich, Adaptation) scripts , and it takes Kafka's story and modernizes it in unexpected ways. A woman with a rare condition which causes her to grow hair all over her body in vast amounts, forsakes the world and becomes a nature writer, who leaves her isolation only to find a mate. Tom Robbins plays this mate, a fastidious, obsessive compulsive, scientist obsessed with teaching table manners to mice. The two then meet a man who was raised as an ape by his father who went insane after the Kennedy assassination, and the scientist and his now shaved assistant decide to make an example of the ape-man by civilizing him. If this sounds a bit ridiculous I should also add that there are three different versions of the story being narrated by Tim Robbins from the afterlife to whatever powers that be, Patricia Arquette to the police in an interrogation room, and Rhys Ifans (our ape man) testifying before congress. A funny, ingeniously smart, wonderfully stylized film, from a writer director team who would go on to "Eternal Sunshine Of The Spotless Mind". All performances are also top notch, in this criminally under seen, and fascinating film. Recommend | add comment

This film really looks at the struggle of one's self to either adapt to society's standards and thrive in the modern world or indulge in the primal urges of our instincts and primitive emotions, but from a point of view so as to not put the viewer off with its message. The whimsical method of the storytelling in the movie combines a subtle, almost childish sense of humor with an underlying angst that is almost too faded to notice. If you enjoyed childhood tales like Jack and the Beanstalk, this modernized fairy-tale will appeal to your inner child, but make sure you don't overlook the underlying message, or you might miss what makes this flick deserve a second look from anyone tired of the "same old same old".

Unlike the other works from Charlie Kaufman- Being John Malkovich, Adaptation and Eternal Sunshine of the Spotless Mind- Human Nature doesn't leave the sort of unbelievable cinematic residue that stays for days and week and even years afterward. It's a work that is low-key even as it's insanely zany in spurts and totally tuned into a comedic frequency that only works for the casual viewer sometimes. But even a lesser work from the likes of Michel Gondry and Kaufman registers higher in a way that comedies with lower ambitions couldn't dream to aspire to. It has some conventionality to it, with its love triangle between Dr. Nathan Bronfman (Tim Robbins), Lila (Patricia Arquette), and Gabrielle (Miranda Otto) that ends up tearing apart the characters to question who they are (aside from Gabrielle). Yet that's not really totally at concern, though it probably has somewhere to figure into the whole idea of what makes for truth in human nature. One might argue, after seeing the film, it has something to do with individualism...actually, if we go by Kaufman's interpretation, it has to do with orgasms.Told in quasi-Rashomon style (with the law and the afterlife, as in Rashomon, figuring into Human Nature as well), Bronfman has an interest in teaching mice table manners when we first meet him (one of the film's funniest recurring images/scenes), and gets set up on a date with Lila, who's a writer of nature stories (from personal experience, due to an abnormal hair condition as a child she decides to live in the wild after an unsuccessful stint at a side-show). She decides to conform for him, hiding the fact that she's a hairy "ape" from the wild, as he hides his compulsion for manners and proper behavior. Enter in "Puff" (Rhys Ifans, in one of his funniest roles/performances yet), who gets that name by Gabrielle, Nathan's assistant at work, and an adoptive mother to Nathan being adoptive father. Now it will be time to really go further with Nathan's research- to teach one who's been in the wild always to be a proper, educated human. This proves to be a challenge, as Puff can't resist the urge to hump whenever aroused, and is around the sexual explosion that erupts between Nathan and Gabrielle- the love triangle that unfolds that may spell as foreshadowing for Puff later on in the story...And so on. You might get just the slight sense- scratch that, overwhelming impression- that this is not you're average tale of what it means to be an ape-man and become 'civlized'. It's a whacked-out comedy of manners and sexuality, where one's own soul becomes more of a question then what is really meant to be proper or what not. Actually, there is some interest in how Nathan figures into this as well- he's the least human of all, at least for the most part, as he loses himself in his pursuit of science, with Lila losing hers alongside. So Kaufman does end up working some very interesting characters here, and the situations and little notes that pop up are about as irreverent as he's ever done. The problem is it ends up un-even too: little things are left un-checked, as to Gabrielle possibly not being really French (it's put in as a possible note of her being untruthful as well, but it's never addressed again, or her motives of anything, even as Otto plays the character well enough), or the psychology that emerges from Puff himself. Does he just want to "have some of that" as he says to the committee, or does he get too adjusted to his surroundings.However what holes or problems might lie in the screenplay, there's no denying the bright strengths just in general working in Human Nature. Who would think up such a strange concept, leaping bravely off of Truffaut's Wild Child into a sort of common theme in Kaufman's work so far? Kaufman would, especially as it's part of the need to feel like someone else, or what it must be to try to be something one can't really be through insecurities and troubles in dealing with reality and surroundings. I would imagine that Kaufman had a lot of fun churning this one out, possibly even thinking it might be improbable it might even get made. Luckily, it's directed by Gondry with his mix of fantastical visual energy and a real sense of humility with the absurd material. It doesn't have the same power as in his best work either, but as a first feature film it could've been a lesser endeavor too. Human Nature ends on an (ironically?) unique ending, where Puff does what we'd expect him to do, but then maybe not, and it caps off what has led up to it- a weird little ball of comic-curiosity that should please fans of Robbins (very funny in his awkward doctor character), Arquette, and especially Ifans.

Looking back on it, "Human Nature" sort of reminds me of "I Shot Andy Warhol", the way we slowly but surely get exposed to a gritty (but somewhat funny) topic. In this case, a man (Rhys Ifans) raised in the wild is getting interviewed by a congressional committee about why he murdered a scientist (Tim Robbins). But overall, the movie poses the question of what separates humans from animals. And after everything that the movie shows, you'll probably agree with what Ifans's character says about everything. As for Robbins's character's setting, it definitely looks like something that would please Jean-Paul Sartre. This movie's probably not for everyone, but I think that it's worth seeing. Also starring Patricia Arquette, Hilary Duff, Peter Dinklage, Mary Kay Place and Robert Forster.Yeah, words are kinda evil...