Pineapple Express

It goes without saying that Pineapple Express marks a clear departure for director David Gordon Green, as the movie’s broadly comedic sensibilities and surprisingly violent interludes are hardly indicative of the indie filmmaker’s distinctly low-key body of work. Yet Green ultimately proves to be an ideal choice for the admittedly over-the-top material; though the film has been peppered with increasingly absurd sequences and set-pieces, Green does a nice job of ensuring that the relationship between the two central characters remains grounded and believable throughout. The film – which follows process server Dale Denton (Seth Rogen) and pot dealer Saul Silver (James Franco) as they’re forced to go on the run after Dale witnesses a mob hit – initially plays out in a manner reminiscent of producer Judd Apatow’s previous efforts, with the emphasis placed primarily on the laid-back exploits of the central characters (which, given the strength of both Rogen and Franco’s work here, inevitably proves to be the film’s most engaging stretch). It’s only as the pair embark on their tumultuous road trip that Pineapple Express‘ potency begins to falter, as the inherently uneven nature of Rogen and Evan Goldberg’s screenplay slowly but surely becomes all-too-apparent (ie the film’s midsection seems to be populated by an equal number of effective and ineffective scenes). There’s little doubt, however, that the movie’s positives ultimately outweigh its negatives, with the uniformly hilarious banter, thrilling action sequences, and downright brilliant opening (in which Bill Hader offers up yet another seemingly effortless scene-stealing cameo) certainly cementing Pineapple Express‘ place as an above-average contemporary “stoner” comedy.

*** out of ****