Man on Wire (2008)

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Is it possible to make an entire documentary out of a tightrope walk that spanned less than one hour over thirty years ago? James Marsh says yes, and has made the best documentary of the year, the enthralling Man on Wire. In 1974 Philippe Petit and two friends secretly made his way to the top of the World Trade Center, suspended a rope between the two buildings. Petit walked, danced, and laid upon the rope for 45 minutes. Floating in the clouds a quarter of a mile above the streets of New York City, Petit completed his life dream, came down, was arrested, released, and returned to France. Man on Wire captures the remarkable images of a man balancing his life within millimeters on the most unlikely stage. Petit's act has been called a criminal stunt, the act of a madman, and an image of profound beauty. The documentary explores how this fascinating dream came to be, what motivated it all to happen, and how the act was planned and executed over a span of months. Starting in a dental office, Petit realized his dream of completing the biggest tightrope walking challenge in the world, and he began his steps toward realizing it. His story is told both through actual footage, past interviews, and new interviews of Petit and his friends made for the film. Most of the film is in English, but some of the interviewees speak only French which is subtitled. Petit's uncanny passion and perspective on life drive the film, and the true story becomes more of a thriller than a documentary. The film chronicles his development as a tightrope walker, starting on a rope in a field and moving to buildings, bridges, and eventually the world's tallest buildings at the time, the World Trade Center. The years of planning, the emotional roller coaster of his crew, and their willingness to help their friend realize his dream are inspiring, and the build-up to the climactic walk will have everyone holding on to the edge of their seats. To Petit and his crew, the daring act was a heavenly ballet, the zenith of the human mind and body, and although few may feel see things this way before the film, the raw images of the act will convert many. Petit explains that accomplishing ones purpose in life is worth anything; what more glorious way to die than in the effort of achieving one's dream. This spirit carries Man on Wire to great heights, and the humanity of the effort and act are jaw-dropping and invigorating. A great story is only great if it is told the right way, and Marsh puts the pieces of this fabulous puzzle together just right.

Good for: all movie-goers, documentary fans, fans of thrillers

Bad for: people who don't like subtitles, the easily bored

The Gallery
The Film Maker: * * * *

Son of Rambow (2008)

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Films with a primarily pre-pubescent cast are behind the eight-ball from the start. Toss in British humor and the remaining audience willing to watch such a film is sparse. But Son of Rambow is more than just a comedy for kids, its a tribute to youthful adventure and the spirit of creativity. The film stars Bill Milner as Will Proudfoot, a young boy raised in a overwhelmingly strict religious household in 1980s Britain. Will's mother keeps him in check both at home and at school, and his life of constant order has made him extremely shy and quiet. A bully in his grade, Lee Carter, played by Will Poulter, saves him from trouble one day by taking the blame in the principal's office. In return, Carter demands that Milner act and assist in creating his homemade full length feature "Son of Rambow." The situations and drama that ensue is a mixed bag of hearty laughs and predictable plot twists, all spiced with British dialogue and humor. Poulter and Milner, both in their acting debuts, deliver solid performances considering the circumstances, and the friend/foe chemistry between them drives the plot quite a ways. Director Garth Jennings guides the cast of mostly children into believable performances, and his witty script is both deadpan and satirical. Jennings love for film-making is apparent in the detailed references Lee Carter espouses in his quest to make a full-length movie. The story is cute and there is plenty to laugh at, but the final third of the movie devolves into typical children's movie conclusions most everyone has seen far too many times. The film is much more effective in highlighting artistic passion and exploration than familial relationships and decision making. The energy and playfulness of the film can only carry the story so far, however, before it becomes more of the same. Jennings has improved over his dreadful interpretation of Hitchhiker's Guide to the Galaxy, but Son of Rambow still leaves something to be desired. Expect to see more of Poulter and Milner, however, as their onscreen tag-team is reminiscent of a young Simon Pegg and Nick Frost.

Good for: British comedy fans, parents with children, film-makers

Bad for: people who don't like kids, those who don't get British humor (humour)

Slumdog Millionaire (2008)

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Sometimes a film's premise can be so original and clever that the list of faults is overshadowed by a propulsive wave of storytelling toward a powerful, even if already predicted, conclusion. Slumdog Millionaire is just that film, the screen adaptation of an Indian novel (Q&A) directed by Indie film vet Danny Boyle. Boyle's most noted works, Trainspotting and 28 Days Later, are intense, dark, and gritty films, but in Slumdog, Boyle translates his intensity behind the camera into a story of hope and determination. Slumdog is centered around Jamal Malik, played masterfully by Dev Patel, and is set on location in India. Jamal is a contestant on the Indian version of "Who Wants to be a Millionaire?" and the film chronicles his life as he answers the questions up to the million dollar question. The hook is that his life experiences inexplicably prepare him to answer increasingly difficult questions despite his treacherous childhood and lack of education. The story is captivating and is one of the most original coming-of-age stories in quite some time, and the way the camera captures the Indian landscape, both desolate and majestic, is breathtaking. The cast is entirely unknown, but includes several great performances, particularly Patel's breakthrough. The story follows Jamal through three time periods, so each main character is portrayed by three different actors, and the child actors are incredible, performing unflinchingly in bizarre situations. Aside from Patel, the stunningly beautiful Freida Pinto stands out as the young-adult version of Jamal's childhood love interest Latika. Slumdog has a fair share of political and social commentary, and at times feels like a thriller, but is essentially a love story. Patel's performance as Jamal, in desperate search of love (Latika) and life (freedom), drives the film through both the good and bad scenes. The story is a breath of fresh air and the locations are original, but at times the film seems to drag. The two hour movie could have easily been 15-20 minutes shorter. Most of the situations seem plausible separately, but the order in which they occur, all to one individual, is beyond unlikely. The last ten minutes are so heartwarming that they overcome the fact that everyone knew exactly how they would happen for the previous ninety minutes. Slumdog is 75% english without subtitles and 25% subtitled. The subtitles are colored according to character, which is a simple but effective touch, but in a few select scenes the accents can make the spoken English difficult to understand. Despite the difficult circumstances Jamal encounters time and time again, the film maintains a strong theme of hope which burns bright in Patel's performance. A completely offbeat music video as the credits roll feels like a slap in the face after a thoughtful conclusion to an emotional film. However, the original framework within which the plot resides, the smart story, and the intimate feel of the direction and cinematography make Slumdog one of the most unique film experiences of the year.

Good for: foreign film fans, fans of romantic dramas

Bad for: the easily bored, those looking for a fluffy film

The Gallery
The Surfer: * * * *
The Writer * * * *

Milk (2008)

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If Brokeback Mountain opened the door for same-sex relationships to be viewed from the same emotional perspective as heterosexual relationships, Milk, the true story of San Francisco activist and politician Harvey Milk, blasts the door down with a marching parade and bullhorn, bringing the gay rights movement front and center in a deeply human context. Whereas Brokeback showcased the personal affairs associated with a homosexual relationship in an intolerant society, Milk highlights the social struggle homosexuals have faced and the barriers they have both overcome and still face, and takes no prisoners in the process. Whether you know the story of Harvey Milk or whether you come to the film blindly with no idea what is about to happen (as I did), the levity of the actual events and the artistry behind the filmmaking will stun you. Gus Van Sant, who has made other controversial and powerful films such as Elephant, directs Milk with a fevered passion that captures the spirit of Harvey Milk and the sentiment of the movement. This works both to Van Sant's advantage and disadvantage, as Milk contains truly electric and heartwrenching scenes, but also at times seems to preach. Van Sant seems to be telling the audience how and when to feel at select moments in the film, when the sheer brilliance of the acting does more than enough to convey the emotional overtones. Despite the few flaws, Van Sant captures the atmosphere of the 70s and San Francisco with great sets and locations, a well-chosen soundtrack, and the use of real footage to give the film a sense of reality. His choice to not cast an actress to play antagonist Anita Baker, but rather to let her actual footage play her part is a genius move that exhibits her wickedness in a way no actress could express, and is deserving of high accolades alone. Van Sant also chose to use choice filmstock to give many scenes a "Wonder Years" type vibe, which is incredibly effective. His best decisions, however, were his choices in casting. There are few words that can be used to describe Sean Penn's performance in the title role; only perfect comes to mind. Absolutely no one could have played this part but Penn, and this is clear from the opening scene. He embodies Milk, and his performance is physical, emotional, spiritual, and shames most actors in the business. Penn's performance is a complete transformation, portraying Milk as a human; proud but flawed, ferocious yet charming, silly and clever, loving and funny. Up against a monumental challenge, the supporting cast complements Penn's performance nearly across the board. Emile Hirsch delivers a name-making performance as Cleve Jones, Penn's campaign volunteer and was clearly inspired by Penn's virtuosity. James Franco is strong as Scott Smith, Milk's love interest and friend, and shows that his acting chops are starting to develop. Diego Luna's portrayal of Jack Lira, Milk's other companion, is the only questionable turn in the otherwise solid cast. Luna's character is eccentric, but the performance comes across as over the top and even somewhat amateur next to Penn's Milk. The supporting cast as a whole complements Penn appropriately, but Josh Brolin, as Dan White, is the only other actor to hold his own and put himself on the same playing field as Penn. In what is without question the most important supporting role in the film, Brolin has proven once again he is a serious, big-time actor with incredible talent. Brolin's portrayal of a deeply troubled man is both moving and haunting, and a scene in which he approaches Milk while intoxicated stands out as one of the best from this year. Thirty years later, some may wonder why it took so long for Milk's story to be told to a mass audience. What matters, though, is that the story was told, and not just told, but proclaimed beautifully with precision and care. The passion and fire of Harvey Milk are personified by Van Sant and company in what is a proper tribute to a great man. Although the conclusion of the story comes as no surprise (even those who didn't know about Milk find out when Van Sant tells them minutes into the film), the despair of the final moments of Milk will weigh heavily on anyone with a heart. But what makes the film and the legacy of Harvey Milk vital is the hope they inspire.

Good for: everyone, film junkies, historians, civil rights activists, Penn fans

Bad for: the intolerant

The Gallery
The Economist: * * * *
The Surfer: * * * * *
The Writer * * * * *

Religulous (2008)

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With no Michael Moore documentary (at least released in theaters) this year, and no other big name releasing a major film in the genre, Bill Maher of HBO's Real Time has stepped to the plate to tackle the issue of religion in his typical cynical, offensive, no-holds-barred style. Maher collaborates with director Larry Charles, of Borat and Seinfeld fame, to travel the world in search of mystery behind the nature of religion and faith. Those familiar with Maher already will know that he is a devout atheist and he does nothing to hide this throughout the film. This isn't an investigation into the good and bad of religion; this is Maher examining how religion has corrupted societies across the globe and contradicted its own foundations. Those who unflinchingly disagree with Maher may have trouble seeing through his rock solid bias, as his interviews involve half serious discussion of religion and half "are you serious?" mockery. His goal, however, seems to be more oriented toward opening up the conversation about the potential negative aspects of religion rather than driving home a distinct point like a Moore documentary. As the title suggests and the interviews reveal, there is a lot to be said about the irrationality behind some of the world's major religions. Religulous features shots at many of the world's most important "Holy Grounds" and contains interviews touching upon most of the major religions from leaders of those religions to average devotees like truck drivers. Although Maher always backs up his argument with factual information, he and Charles are comedians at heart and Religulous is the funniest religious movie you'll find on Netflix. There is no trickery here such as that which Charles' masterfully executed with Borat; microphones and cameras are intentionally shown on screen to make clear that all of the interview subjects were aware of the circumstances surrounding the film. Charles edits in many brief, seconds-long clips from the news, old movies, and old television shows between and during interviews that are often sarcastic, biting, and hilarious. Maher's deconstruction of religion from his own childhood and maturation reveal how those raised in faith may be attracted to new ideas. And in the long run, Maher's goal is simply that, to bring light to new ideas often trounced by political correctness or adherence to tradition. It's hard to find a large audience with a documentary, particularly one that openly mocks religion. But with Religulous, Maher has raised the dialogue about atheism and religious criticism from zero to something slightly above that without boring his audience and providing plenty of laughs with intellectual conversation.

Good for: Maher fans, open-minded thinkers

Bad for: the easily offended

Burn After Reading (2008)

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Leave it to the Coen brothers to follow up last year's best film, No Country for Old Men, with a film as quirky and off-the-wall as Burn After Reading. Ten years after the Big Lebowski followed their finest film, Fargo, the Coen's churn out another comedy with bizarre characters and situations, grim humor, and an outlandish premise. The Coens enlisted a star-studded cast including Brad Pitt, John Malkovich, Tilda Swinton, J.K. Simmons, Richard Jenkins and Coen-veterans Francis McDormand and George Clooney for their highly anticipated follow up. The story revolves around Chad (Pitt) and and Linda (McDormand) who stumble across a CD with government files that belongs to Malkovich's character Osbourne Cox, and attempt to use their discovery to get some cash out of Cox for Linda's plastic surgery. And that's only the half of it. The situations that arise are both outrageously funny and at times disturbingly sad. The dialogue is sharp and creates memorable characters, even in Coen brothers terms, especially Pitt's Chad which is easily the funniest performance of his career. All of the actors step into characters far from their typical roles and sell them completely. The film has definitive Coen style; quick and to the point with little waste. Like all of their films, Burn After Reading is full of cynical humor that points out flaws in society, and this film does so perhaps more than any of their others. The Coens are some of the only filmmakers who have the cojones to make a film like this to follow a Best Picture winner and to follow the ending of No Country for Old Men with the conclusion to this film. Some may be surprised or even disappointed with the obvious indulgence the brothers took in making such an eccentric film, but Burn After Reading is a lot of fun. It has its flaws, but just like its characters, in the end there is more to laugh about than to be turned off by, and the film is very successful as a satire of American culture and politics.

Good for: Coen Brothers fans, Brad Pitt fans, fans of dark comedies

Bad for: people who like straight-forward comedy, the easily disturbed

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

Tropic Thunder (2008)

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Ben Stiller is one of the funniest, most talented people in Hollywood, but his resume has played out like Ryan Howard's career; a few homeruns and a whole lot of strikeouts. Tropic Thunder, however, is the funniest movie this year among some strong competition, and is a classic that puts Stiller at the top of the comedy scene with the likes of Ferrell and Apatow. Stiller steps behind the camera in Tropic Thunder for the first time since Zoolander, directing an ensemble cast of Robert Downey Jr., Jack Black, Steve Coogan, Danny McBride, and newcomer Brandon T. Jackson. Stiller penned the script with Etan Cohen (not to be confused with Ethan Coen of Coen Bros. fame) about a group of actors who are sent to film a war movie. When the director (Coogan) feels that the project is suffering due to lack of motivation, he strands the troupe in the Vietnamese jungle and the line between acting and reality starts to blur. The film is an amalgam of satire and original storyline, and Stiller mixes in gag humor, witty punchlines, and countless references to past war films. Tropic Thunder is way smarter than Hot Shots but not as topical as Dr. Strangelove, and the result is a movie that is loaded with laughs of all varieties. The cast is incredible, as Stiller, Black, and Downey Jr. form an amazing squad, playing stereotypical actors far from their real-life identity. Stiller is hilarious, as usual, and plays a hothead, doofus action-star somewhat similar to some of his past roles such as White Goodman in Dodgeball (and looks surprisingly jacked). Jack Black turns in one of his best performances as a drug-dependent comedian/actor, and newcomer Brandon T. Jackson manages to hold his own among the stars as Alpa Chino. Its hard to quantify Robert Downey Jr.'s performance, who plays Kirk Lazarus, the only "real actor" of the bunch. Lazarus is so committed to his role that he "becomes" a black man, and like Lazarus who he plays, Downey Jr. is so entrenched in the role it is easy to forget the man is actually white. The performance is instant comedy legend; Downey Jr. is so good that literally every one of his lines is funny, everything he says becomes a joke. Tropic Thunder packs a surprise attack, however, that is outright brilliance; cameos. There are many guest appearances, but there are two major stars playing large roles (unmentioned in the credits and promotion of the movie) that are both lights-out, laugh-out-loud performances. Overall, the film relies much more heavily on strong, intricately detailed comedic performances than profanity and vulgarity, and Tropic Thunder is more of a "film" than most of the funniest comedies from the past few years. There is plenty of profanity and obscene violence to elicit an R rating, but the dirtiness simply complements great acting and writing, instead of replacing it. The film has a cohesive feel that shows that everyone involved embraced the project, and features such as three fake commercials/previews that precede the film are clever and add to the depth of the characters. Stiller's script is the funniest he has ever written, and the story that goes along ties together all of the character's flaws and strengths for a well-rounded, surprisingly compelling plot. The laughs hit hard and often, as Tropic Thunder is a classic war comedy that has more to say about the state of Hollywood than war.

Good for: Stiller fans, war movie fans, anyone with a sense of humor

Bad for: some Will Ferrell fans, the easily offended

The Gallery
The Economist: * * * * *
The Surfer: * * *
The Writer * * * *

Tell No One (2008)

* * * *

Tell No One is the story of a doctor who, while browsing the internet at work, receives a strange e-mail from his wife. The catch; she has been dead for eight years. This simple premise at first glance seems like something that should be destined for a month on the big screen and a quick DVD release. The catch; Tell No One is adapted from an American novel, but is shot entirely in French, in France, and by a young director at the helm of only his second film. Director Guillaume Canet brings a fresh, exciting feel to this suspense thriller without resorting to typical Hollywood cliche. The film stars François Cluzet as Dr. Alex Beck, who was at first accused but eventually cleared of his wife's brutal murder. Eight years later, he is still grieving when he is mysteriously contacted by her. The police decide to reopen the investigation, and in his attempt to decipher if the message was a cruel hoax or a paranormal phenomenon, he becomes a fugitive of the police. There are many strange characters, all of which are portrayed believably by a strong supporting cast. However, the star is Cluzet who is brilliant as Beck, capturing the humanity of a husband who has lost the love of his life and the acumen of a doctor trying to solve a difficult puzzle under intensely odd conditions. Canet challenges the audience just as Beck is challenged in the film, leading the plot down many sudden twists and sharp turns and dropping little clues along the way. At times the film becomes quite confusing and just when things start to come together, another element is thrown in which completely adjusts the viewpoint. Tell No One is a mystery film on the surface, and a great one at that, but a love story at heart. The suspense of the plot is complemented by flashbacks and imagery which give an emotional depth to the events taking place. Canet is clearly influenced by Hitchcock and American suspense films of the past and creates a blanket of tension that hangs over the audience, building heavier and heavier as the film nears its conclusion. When everything starts to come together for real, the depth in the performances and story make the conclusion, which may be the best final scene of the year, that much more rewarding for the viewer. The film is adapted from a book, and there are some illogical circumstances that were likely a result of condensing a novel into just over two hours of film. The reality of the film is at times sacrificed for continuity, and although this definitely detracts from an otherwise effective portrayal of reality, the performances and script are so strong that the inconceivable situations are largely overshadowed. The basic premise seems stale at first glance, but the inner-workings of this story are very well written and original. Tell No One is the rare thriller that holds you to your seat without insulting you with mindless violence, major plot holes left unexplained, or rehashing the same old scenarios. Its a good thing the script made it past Hollywood to France. Like Guillermo del Toro with Pan's Labyrinth and Juan Antonio Bayona with the Orphanage, Canet stays true to the genre while packing so much depth into the characters ad the story. Foreign directors, of late, seem to be much more capable of providing layers of entertainment, so that the film is not merely a thrill ride but a work of art with the potential to be interpreted and enjoyed on many levels. The French perspective keeps the film fresh, and the combination of a sharp, young director and an extremely talented leading man yield a gripping thriller with more to it than what meets the eye.

Good for: fans of foreign films, people who like mysteries and suspense, a date

Bad for: people who cannot read subtitles

Vicky Cristina Barcelona (2008)

* * * *

Leave it to Woody Allen to prove once again what great writing can do to a simple premise. The master of dark humor has returned to familiar territory, framing the curious nature of human relationships within his cynical perspective. At age 71, he is as sharp as ever. Allen employs his most recent muse, Scarlett Johansson, as twenty-something Cristina, who is on a trip to Spain with her girlfriend, Vicky, played by Rebecca Hall. Vicky and Cristina are best friends yet total opposites. Vicky prefers men on the path to fortune and serious relationships, whereas Cristina yearns for whimsical flings with artists and thinkers. They just so happen to encounter an artist at dinner, Juan Antonio, played by Javier Bardem. The bizarre love triangle which ensues involves sight-seeing through Barcelona, a lot of wine, and the emergence of Maria Elena, played by Penelope Cruz. Bardem is every bit as smooth as his character Anton Chigurh in No Country for Old Men was haunting, and is great to watch in an excellent role to follow up his Oscar winning performance. Johansson is mediocre for the most part, and aside from Lost in Translation, has yet to show great skill or just what Allen sees in her. She and Hall both have bright spots within their performances, but fade in the presence of Bardem and Cruz. Although neither of their characters names appear in the title, Bardem and Cruz are the stars of the show and are thunder and lightning when on screen together. They are sexy, combustible, and truly enact the passion that has come to be associated with the Hispanic lifestyle. Cruz is on fire in one her best roles. Maria Elena is a beautiful inferno seemingly unable to control her emotions or tact. Cruz has quietly built an impressive resume in good films, and may be the most underrated actress in the business. Allen compliments the beauty of his cast by capturing the beauty of Barcelona with landscape shots and locations ranging from fine restaurants and museums to small villages and trees under the moon. The film is one of the sexiest of the past few years, but shows very little and leaves much to the imagination. A particularly evocative scene involving Cruz and Johansson in a dark room, however, is likely to be one of the film's most memorable. Like all of Allen's films, he touches on the intricacies and oddities of love, placing his characters in situations everyone can relate to and having them ask themselves questions that we have all considered, although not for sixty years like Allen has. The humor is sharp but not obvious, hitting the nail on the head for some and flying over the head for others. But for those that get it, they will be laughing hard, on the inside. Woody Allen is the dean of the romantic comedy and brings legitimacy to an otherwise atrocious genre. Once again, he shows exactly how it is supposed to be done with a spicy, intelligent film.

Good for: Allen fans, people who like romantic comedies, fans of dark humor, art film fans

Bad for: people who liked 50 First Dates

Pineapple Express (2008)

* * * *

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 * * * * *