Pineapple Express (2008)

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Stoners rejoice: the stoner film genre has made a triumphant return with Pineapple Express, the brainchild of Superbad writers Seth Rogen and Evan Goldberg. The central theme of Pineapple Express is, of course, marijuana, but unlike many recent so-called weed movies, the underlying premise and surprisingly detailed plot make the film enjoyable for all audiences. Starring Rogen and James Franco as a customer (Dale Denton) and drug dealer (Saul Silver), respectively, the film follows the two as they try to escape from a drug dealer who Denton witnessed committing murder. When Denton scrambles to escape from the murder scene, he drops a joint containing the potent marijuana strain Pineapple Express, which Ted Jones, the murderer, finds and tracks to Saul Silver. Chaos ensues as the two full-fledged stoners both light up joints and car tires in an attempt to not get whacked. Rogen proves yet again that he belongs in center stage, and despite his chubby, goofy appearance, he can carry a comedy on his broad shoulders. Franco, known by many more for his looks than talent, truly avoids type-casting by playing a lazy pot dealer, a character even more stoned than Rogen. Together, they make a legendary tag-team that will go down in stoner lore. Pineapple Express follows in the footsteps of other Judd Apatow classics by complementing a great premise and hilarious leads with an extremely talented supporting cast. Rosie Perez, who seemingly disappeared after White Men Can't Jump, returns as a crooked cop with a knack for violence in what may be the best role of her career. Gary Cole, like his role as Lumbergh in Office Space, brings a twisted element to Ted Jones which works wonders when he is on the screen with Perez. And Danny McBride, as Red, turns in the most notable supporting performance as he has some of the film's most memorable lines and is nearly killed time and time again. Apatow recruited little known David Gordon Green to direct, and Green delivers a sharp, stylish film that stays true to a brilliantly written script. Rogen and Goldberg crafted plenty of jokes and dialogue that will resonate with the stoner culture, and there are plenty of bizarre situations characteristic of Apatow films (Denton's high school girlfriend), but what separates Pineapple Express from Dude, Where's My Car and Half Baked is the legitimate crime/thriller storyline. Many will be surprised by how well the action scenes are executed, with shrewd detail such as characters firing guns as if they never have touched one before. And even the most toasted in the audience will snap out of their daze when they see the surprising level of violence and gore. The soundtrack frames each scene perfectly, and a black-and-white prologue featuring Bill Hader sets the tone for the film. There are definitely jokes that will go over some of the audience's head, and some dialogue is so dumbed down for those who have lost some brain cells to the wacky weed that those who abstain may not be impressed, but there is enough intelligence and creativity here to prevent any comparisons to How High. Pineapple Express is clearly a descendant of the Cheech and Chong lineage of buddy capers and marijuana glorification, but the film clearly shows inheritance from Tarantino as well, and its authenticity and originality has re-lit the cherry of the stoner film.

Good for: potheads, Apatow fans

Bad for: straight-edgers

The Gallery
The Economist: * * * *
The Surfer: * * *
The Film Maker: * * * *
The Writer * * * * *

Step Brothers (2008)

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Another summer, and the Judd Apatow train keeps on chugging. The Apatow posse has grown larger and larger with each subsequent hit film, but with Step Brothers, he brings out his top guns Will Ferrell and John C. Reilly, and pairs them with one of his best directors, Adam McKay (Talladega Nights, The Landlord). This deadly comedic combination could make laughs out of seemingly any premise, and Step Brothers is more of a testament to that statement than one could imagine. Ferrell and Reilly play 40+ year old men still living with and mooching from their mom and dad, respectively. When the mother and father, played by Mary Steenburgen and Richard Jenkins (The Visitor), fall in love and get married, Brennan (Ferrell) and Dale (Reilly) become Step Brothers and move into the same house. And really, thats all there is to the film. The premise itself is just an excuse to get Reilly and Ferrell on the screen at the same time. For nearly anyone else this would be a cop-out and a flop, but for this, its a riot. Both actors are at the top of their game, delivering their immature, profane, and offensive humor in large, near-constant doses. Despite starring in Walk Hard, the under-appreciated Reilly still seems to be flying under the radar. But make no mistake, he is every bit as funny as Ferrell in this film, holding his own and sometimes even outshining him. Most often, though, the two complement each other near perfectly, making a powerful comedy tag-team. There is plenty of gross-out physical humor, and brilliantly vulgar lines that will defy the imagination of even the most raunchy minds. After wading in PG-13 territory for a few films, its nice to see Ferrell return to the land of the F-Bomb, and Reilly picks up right where he left off with Dewey Cox. Although Jenkins and Steenburgen provide a few laughs as the parents, and a turn by Adam Scott as Brennan's younger, more successful, completely over the top brother sets up Ferrell for some great scenes, the film almost comes across as a two-man comedy hour that just happens to have some other actors around to take up space. The story, for the most part, is completely typical, and because of the abundance of laugh-out-loud humor, it doesn't really matter. For the same reason though, those who don't have a taste for Ferrell's adult humor will have almost nothing left to enjoy. This isn't a great film in the sense of modern cinema, and its not meant to be. The bulk of the intelligence on-hand is the bizarre creativity required to write and recite uniquely vulgar lines, vulgarity no 14 year old or frat boy has yet dreamed of. This also isn't Apatow or Ferrell's finest moment, but Step Brothers may just go down as the cult-classic of the Apatow collection. The storyline isn't nearly as original or clever as the 40 Year Old Virgin, Anchorman, or Talladega Nights, but there are just as many memorable quotes as a 2-hour stand-up comedy special, which is what Step Brothers essentially is.

Good for: Apatow fans, Ferrell fans, immature people

Bad for: serious people, deep thinkers

The Gallery
The Surfer: * * * *
The Film Maker: * * *
The Writer * * * *

The Dark Knight (2008)

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An unprecedented amount of hype surrounded the Dark Knight, and the aggressive marketing campaign, viral internet buildup, and mythic nature of Heath Ledger's final performance put the film in prime position to disappoint. The expectations were unheard of, yet, riding on Ledger's remarkable performance, Christopher Nolan's epic vision, and an inspired cast and crew, the Dark Knight beat the odds to meet and perhaps even exceed the cinematic and box office anticipation. The Dark Knight is to superhero films what the Godfather is to mob films, Apocalypse Now to war films, Scarface to mob films and Star Wars to science fiction. There are other great films in this genre, but the Dark Knight is the best, and the bar has clearly been raised. The story picks up where Batman Begins left off, with Gotham City in turmoil and Batman doing his part to restore justice to the city. Word comes along of a new powerful player in the crime scene who is getting under the skin of both the law enforcement and rival mobs, and goes by the name of the Joker. The ensuing battle between Batman, the Joker, and district attorney Harvey Dent involve sly backhanded negotiations, gripping fight and chase scenes, heists, twists, turns and more. Nolan deserves tremendous credit for writing an engaging plot that is sharp and fast despite running at two and a half hours, for capturing all of the performers at the best of their ability, and for framing the story within the beautiful Gothic imagery of Gotham City. The film was shot largely with cameras suited for IMAX, and although any big screen will do the film justice, the IMAX experience is one in itself. Christian Bale once again delivers a standout performance as Batman and Bruce Wayne, with the Wayne persona becoming a bit darker and more sadistic, channeling aspects of Bale's performance as Patrick Bateman in American Psycho. Aaron Eckhart, the wild card of the film, is excellent as Dent, embodying the public servant's noble and devious sides very believably. The supporting cast remains largely the same, except for a moderate improvement with Maggie Gyllenhaal replacing Katie Holmes as Rachel, and once again Freeman, Caine, and Oldman are spot-on. The film, of course, belongs to the late Heath Ledger. The maniacal and eccentric, yet painstakingly nuanced performance will go down as one of the best villains ever captured on film, haunting, and chill-inducing at times. The Joker has never been more entertaining, demented, but most of all, realistic. The Joker (or any of the characters) is no longer a cartoon character or a silly bad-guy with a big grin, but a twisted individual with a history and a reason for his insanity. The Dark Knight follows Batman Begins in that the tradition of hero versus bad-guy for its own sake is thrown out the window, and the reasons behind each character's motivations is explained to bring depth to the roles and circumstances. The performances and script aren't meant to be a thrill-ride; these characters and stories, like Batman Begins, pay homage to the original comic book writers intent of using fantasy as an allegory for the issues and circumstances the modern world faces. The film is loaded with symbolic imagery, and religious, governmental, and moral motifs. The attention to detail is remarkable, and the depth to which the Dark Knight can be dissected will thrill diehard comic book fans while drawing in many casual fans as well. There are times where the Dark Knight loses some of the ultra-realistic sense that dominated Batman Begins, leaning more toward traditional super hero movie action, but the powerful and unique performances and story seem to overshadow the film's flaws. The Dark Knight will have its place in history and pop culture for its box office successes and the media hype machine that surrounded it, but movie fans will remember it as the best of its kind, a film loaded with actors at their strongest, a writer/director capable of bringing an unforgettable vision to the screen, and a highly entertaining, yet entirely thought provoking film.

Good for: movie fans of all kinds, Batman fans, Ledger fans, Bale fans

Bad for: those who don't like long movies, people who automatically dislike popular films

The Gallery
The Economist: * * * * *
The Surfer: * * * *
The Film Maker: * * * *
The Writer * * * *