Movie Review: Joe (2014)

by Tony Dayoub

Anyone who still indulges in the meme that Nicolas Cage overacts should be silenced by one look at his new film, Joe... that is if they get around to seeing it. Small and unassuming, Joe is an indie by David Gordon Green, a director who's at his best when he makes plot subordinate to the study of one or two well-delineated characters. One of those would be Gary (Tye Sheridan), a young drifter with a good work ethic looking to escape the influence of his violent, alcoholic father, Wade (Gary Poulter). Then there's Joe himself, played by Nicolas Cage as an industrious business owner whose stillness belies an explosive temper that has kept him at a remove from all but society's most underprivileged or unjustly ignored.

Movie Review: Pineapple Express - Stoner Comedy is a Disappointing Mess

by Tony Dayoub



Pineapple Express is the latest comedy from the guys who hang under the Judd Apatow (Knocked Up) shingle. And it is the first to utterly disappoint, I'm sorry to say. The movie's a mess. It doesn't know whether it wants to be a stoner comedy, or a mismatched buddy caper, or a crime thriller. Yeah, I get it... indie director David Gordon Green (Snow Angels) is trying to demonstrate he can bust all genre limitations with this one. And maybe it works as his audition reel for joining the studio system. But as a movie, it fails big.


It starts so promisingly, too. Process server Dale Denton (Seth Rogen) is sleepwalking through his thin misguided life. He dresses up in phony disguises to serve his subpoenas. Occasionally, he stops to visit his girlfriend, Angie (Amber Heard), at her high school. Any reflections on the sorry state of his life are mostly smoked away with pot he purchases from Saul Silver (James Franco). Saul is so insulated by his paranoia at getting caught dealing, that he aches for a friend. Dale is nice enough and cool enough to fit that bill, so Saul shares his newest batch of weed known as "Pineapple Express" with him. This batch is so uniquely good that smoking it is a shame. According to Saul, "It's like killing a unicorn... with a bomb."

Dale leaves to serve Ted Jones (Gary Cole), supplier of said "Pineapple Express", with a subpoena. Arriving at the wrong time, he witnesses Jones and his cop girlfriend, Carol (Rosie Perez), murdering a rival dealer. Dale takes off in a hurry, but Jones and Carol identify a roach the pothead leaves behind as containing his batch of marijuana. When Dale goes back to Saul, and finds out he's the first to buy a sample of the "Pineapple", they both realize that it is only a matter of time before Jones tracks them down and eliminates them.

This is where it begins to fall apart. Scenes go on far too long as we hang with Dale and Saul in the woods while they consider what their next move is in their pot-induced reverie. Conversations that show the beginnings of a joke or two, go around in meaningless circles till they finally just die. Is it meant to represent the feeling of being high? Sure it is. But it doesn't make for good entertainment if a comedy fails to make you laugh as this one frequently does. Cheech and Chong's films, Friday, and even the Harold and Kumar comedies all knew how to wring laughs from the stoner premise. Part of it is their fearlessness when descending into total inanity.

But director Green is hoping to elevate this to another level. The film fails there also. Attempts at giving the two buddies some depth through their shared experience seem forced, and ultimately squelched by the filmmakers' own hesitancy to venture into emotional territory. When, at various repetitive times, the two leads are in desperate straits, they frequently profess affection to each other. But it's always done tongue in cheek, or defused by a well-timed quip.

So is it a parody? I don't know. It seems to be too serious for that. At times, presenting itself as a crime thriller, like when Dale and Saul are finally confronted by Jones and his goons, the movie gets pretty graphic and intense with its violence. If Green is going for a Landis-like twist on chase movies, a la The Blues Brothers or even Into the Night, it fails there also. Landis knew how to tie up loose ends, for instance. Dale has Angie and her parents (Nora Dunn and Ed Begley, Jr.), hide in a motel, revisits Angie twice (with parents nowhere to be seen), only to never be heard from again before the movie concludes. I doubt that Dunn and Begley deigned to do this movie only to appear in one short, throwaway scene. I suspect, instead, that there are large chunks of this film on the cutting room floor.

This film is about as disjointed a one as I've seen in some time. It's like they threw everything at it but the kitchen sink, and hoped some of it would stick. Not silly enough to elicit laughs, not deep enough to explore the two stoner-buds' friendship, and not tight enough to serve as a thriller of any sort, Pineapple Express isn't even worthy to watch while high. So save yourself some time, money, and laugh-enhancing medication and just skip it.

DVD Review: Shotgun Stories - Small Gem is one of 2007's Best Films

by Tony Dayoub

Available tomorrow on DVD, Shotgun Stories is one of the best films of 2007. Produced by indie stalwart David Gordon Green (George Washington), first-time director Jeff Nichols' film resembles some of the quiet, rural stories Green has such an affinity for. Green has cited Terrence Malick (Badlands) as a major influence in his work, and one can see (evident in this photo) the lineage extends on to Nichols' accomplished but little seen film.

The film follows two sets of half-brothers through an escalating feud. Sparked by the intrusion of the first set of brothers to their late dad's funeral, and some unflattering remarks made about the deceased in front of the second set of brothers, the resentment builds easily between them. The late born-again father abandoned his first set of kids, leaving them with a bitter mother who taught them to hate the new family.

Michael Shannon (Bug) plays Son Hayes, the laconic and protective eldest of the first set of brothers. Estranged from his wife, who left with their son, he still holds a grudge over the rudderless life he blames his father for. Shannon never telegraphs what his character will do, playing him as a hollow man who probably isn't even aware of what his next move will be. This aids tremendously in keeping the film's story unpredictable.

The screenplay is economical and filled with pregnant pauses that ratchet up the tension. We are never subjected to expository dialogue, but the blanks are always effectively filled in for us. We are able to get a sense of the type of man his father was by the throwaway names the formerly deadbeat father gave his first set of children, Son's younger siblings being named Boy and Kid. A growing sense of doom pervades every exchange in the film. When Boy and Kid walk towards a basketball court, and a car swerves into frame behind them, you fret that it may be their half-brothers looking for a fight. As Son stands with his family at the local car wash, and you see the half-brothers pull in provocatively, you dread that his young son came along for this errand.

The movie unfolds leisurely, but you never feel less than riveted by the story. As a character piece it is stunning, each player distinctly unique in his/her own way, but each a product of their rural surroundings. They have limited aspirations but unlimited imaginations. Boy (Douglas Ligon) lives in a van, to save money, and is constantly tinkering with an air conditioning unit he hopes to hook up to the van. He also coaches a local school's basketball team, and whiles away his free time with Kid on basketball trivia.

A great movie for a weekend afternoon, Shotgun Stories is a small gem that should not be missed.