Pineapple Express
David Gordon Green. A discussion of Pineapple Express does not begin with Seth Rogen. It doesn’t begin with James Franco. It begins with Americana indie darling David Gordon Green, who accepted Pineapple Express as his first major Hollywood film in one of the most curious and perplexing “go big” moves by any independent director this side of ever. The more shocking thing: if you squint, and even if you don’t, it’s not too difficult to see the whole film as Gordon Green having fun with his indie film aesthetic. That’s a stretch, sure, but it’s clear that his rambling, lackadaisical camera and slow-going filmsmanship more interested in waiting around and chilling with his characters is in effect in Pineapple Express as much as in any other film he’s ever made – he’s just traded in “detached, humanist exploration of human distance” with “a Sunday afternoon’s high”, and the way he finds similarities between the two is quite cinematically exciting indeed. Continue reading

In light of the need for the fledgling days of this new blog to pack in content that isn’t just new releases or me just posting reviews of older films randomly, I’m helping it through its growing pains by using the release of the new summer blockbuster Dawn of the Planet of the Apes as an excuse for posting my recently-dug-out review of its excellent predecessor, Rise of the Planet of the Apes. Enjoy.