The resolution to the film's dilemmas-and director Lawrence Guterman adeptly maintains two primary dilemmas throughout-hinge on learning how to be a better father. It explores the fears and foibles that many fathers and fathers-to-be experience. To a large extent, Son of the Mask is a film about fatherhood.

It's highly fantastical and surreal, and it enables a great number of deeper themes and subtexts. It actually trumps the first Mask film in a way by bringing the source of the mask into the proceedings. Tim's masked persona enables him to get a promotion and procreate, but the baby just may metaphysically be the son of Loki, and Loki exploits this fact to try to find his mask.Although it sounds complex, perhaps, that's a more than attractive story to me.

It seems that he's lost his mask of course and Odin an almost unrecognizable Bob Hoskins is nagging him to find it. Prior to this, Tim was having trouble at work as a struggling animator relegated to giving studio tours dressed up as a giant tortoise, and his wife was nagging him about having a baby.Meanwhile, we get to meet Loki himself played by Alan Cumming in a fabulous prologue set in a museum. Tim puts it on just in time for a Halloween party, which enables him to get in the good graces of both his boss, played by comedian Steven Wright, and his wife, Tonya Traylor Howard. The mask of Loki, the 'God of mischief' in Norse mythology, comes floating down a stream, to be found by Tim's dog, Otis in an alliterative reference to Odin, Loki's father, and a pun on Milo and Otis. Tim Avery Jamie Kennedy lives in the bucolic countryside that's ironically only two miles outside of Edge City it seems almost like a northeastern New Jersey, Westchester County or southwestern Connecticut joke. The story could take place either before or after the beloved Jim Carrey film. The plot is set in the same location-the fictional Edge City-as the first Mask as well as John Arcudi and Doug Mahnke's comic books, upon which both films are based.

The Godfrey Reggio/Philip Glass trilogy of Koyaanisqatsi 1983, Powaqqatsi 1988 and Naqoyqatsi 2002 all receive scores of 9 or 10 from me, and debatably they have no plots, even if they make many cogent, often philosophical, 'arguments' about culture.But it's not that Son of the Mask's story isn't good. Two, Son of the Mask's other outstanding artistic qualities enable it to largely transcend any problems it has with achieving a spellbinding plot.Of course, related to point one above, it's not that every film needs to have a paradigm-shattering plot to succeed.

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