David Gordon Green’s latest could fool you into thinking it was written, shot, and edited in the same week, so lazy and unrefined are its narrative and construction.
The poster is an intentionally drab pseudo-fusion of a milk carton ad and a supermarket service flyer.
Pot comedies may not be rocket science, but a few more script revisions would have probably gone a long way here.
Eastbound & Down is myopic, wasting its focus on shortsighted laughs rather than giving us something we have not seen before.
For our third installment of “The Conversations,” we decided to each select a film from the past 10 years that we thought was unfortunately overlooked and/or unfairly maligned.
There’s plenty here to keep the attention of both stoners and cinephiles alike.
Seeing as how our heroes are constantly getting high, the film toys with the idea that what we’re seeing is in Dale and Saul’s heads.
Among its achievements, Pineapple Express makes explicit much of the underlying homoeroticism inherent in the buddy movie.
Glorious Southern fried sloth, in epic widescreen.
Throughout, David Gordon Green’s style is as arbitrary as the Cloverfield monster.
The most striking reference point for David Gordon Green’s Undertow is Charles Laughton’s The Night of the Hunter.
Too bad the disc’s video transfer doesn’t do Tim Orr’s gorgeous cinematography justice.
The elations and agonies of love between young people approach new heights of strident authenticity in David Gordon Green’s film.
Utopian without the naïveté, George Washington posits the possibility of a racially harmonious South.
It almost seems silly now to think that George Washington, last year’s little-film-that-could, was actually rejected by Sundance.