You won't be disappointed!

I'll tell you why so serious

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

It's a feast for the eyes. But what really makes this dramedy work is the acting.

This is a typical Charlie Kauffman work and it works really well. A comedy about an ape like woman, a man who has lived in the wild all his life and a psychologist and the intertwined love story. The screwball nature of the film will make it appealing and Kauffman enthusiasts will enjoy it for sure. Michael Gondry, much like Spike Jonze works on the fringes and this is one of his good films.

A deceased behavioural scientist waiting to enter heaven, a woman with body hair issues and a man raised as an ape each tell separate panels how their lives came to overlap in this offbeat comedy written by Charlie Kaufman and directed by Michel Gondry - the team behind 'Eternal Sunshine of the Spotless Mind'. The drama here is not as touching as in their latter collaboration, but the comedy side of 'Human Nature' is just as quirky with eccentricities ranging from laboratory mice who have been taught how to use cutlery to Rhys Ifans mixing up dining manners with his baser human urges. The title of the film is somewhat ironic as the film explores the effects of conditioning - as well as the side effects of repressing what comes naturally. It is not an entirely realistic story as the scientist, played by Tim Robbins, kidnaps a feral Rhys Ifans, found in the woods, and raises him in a glass cage in his laboratory like a guinea pig, but then again, from the gigantic illuminated signs that Robbins uses to teach him how to talk to politely (!) to the somewhat miniature furniture that he gradually crowds his glass cage with, outrageousness seems to be what Kaufman and Gondry are most acutely interested in. Plus, of course, prodding questions of just how much sense conditioning makes and whether we are in life ultimately driven by sexual desires above all else.

Weird comedy about a hairy woman, a man who has lived in the jungles like Tarzan, a scientist who is not endowed like most men, and his over-sexed assistant. With the notable exception of the terrific "Being John Malchovich," Writer Kaufman's comedies tend to start out with intriguing premises but run out of steam long before the movie is over. And so it goes with this one, rambling about with an occasional chuckle (Robbins visiting his parents and noticing a little boy at the dinner table), but unable to sustain interest over the long haul. Otto is alluring as a scientist; Arquette with her body covered with hair is not.

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.