Jim Carrey plays Peter Appleton, a likable Hollywood screenwriter in the ‘50s who is just starting to see his career blossom. That all ends abruptly, though, when the government starts their investigation into suspected communist activities in Hollywood (the investigation actually occurred and destroyed numerous careers). Appleton’s not really a fighter, or even one who stands up for himself too often, so instead of facing the issue head-on, he takes a drive up the coastal highway where he gets into a severe accident that leaves him with a case of amnesia. He’s rescued by an elderly man who takes him to a small nearby town. When he arrives he is mistaken for Luke Trimble, a young and respected man that was feared dead in World War II and hasn’t been seen for more than nine years.

Frank Darabont, who gave us the wonderful The Shawshank Redemption and not-so-wonderful but still admirable The Green Mile, directs this film with his usual slow and drawn-out delivery. Done right, like in Shawshank, it can build to have a startling impact. I like the way he handles his films with careful and deliberate steps, but this one oversteps boundaries by being just too darn slow. Nothing moves fast in this town, and I’m sure if an apple fell off a tree it would take two minutes before it hit the ground. Worse than that, it is so sugary sweet that you feel like you’re watching an episode of Leave it to Beaver. This is white-bread country soaked in bleach.

On the other hand, making a film good-natured, particularly at Christmas, has better intentions than some of the garbage we see at the theaters these days. The Majestic is a tale about family and loved ones, chasing dreams, and, most of all, the movies. Yes, the movies is what this is really bent on praising. The Majestic in this film is the theater that Luke and his father (Martin Landau) ran before Luke went missing. When the supposed Luke returns, it inspires his father and the people of the town to renovate and open the theater again and in turn breathe life back into the town.

It’s obvious Carrey chose this film because he’s dying for credibility, and a serious turn like this could give him another shot at an Oscar. Heck, he even gets to deliver one of those goosebump-raising courtroom scenes. The problem is neither Carrey nor the film resonate or deliver sufficient impact. However, this isn’t a bad film at all, and despite the fact that it is overly long, it was easier to sit through than the convoluted Vanilla Sky I saw the night before. If you’re into something upbeat and somewhat joyous then this *** movie is a good holiday choice.

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