In yet ANOTHER summer romp from the Judd Apatow factory line Dale Denton (Seth Rogen) is a beefy rotund guy who delivers subpoenas for a living. He also dates a young jail-bait cutie Angie (Amber Heard) when he’s not visiting his sweet stoner of a pot dealer Saul Silver (James Franco) to score the latest and greatest weed. In this case that’s the title star Pineapple Express a marijuana combination so lethal and unique Dale is almost (we said ALMOST) reluctant to destroy it by inhaling. But when he sets out to deliver a subpoena to drug kingpin Ted Jones (Gary Cole) he is spotted by the man as he commits a bloody murder. Freaking out Dale ditches the scene so fast he dumps some of the precious weed leaving it behind like a trail of breadcrumbs dropped by Hansel leading a trail to Saul. Reefer madness ensues as a full-blown freak out is set in motion and Dale and Saul hit the pedal to the metal in order to evade Ted and his loony goons (Kevin Corrigan and Craig Robinson). This leads to so many crazy-weird encounters and near-death experiences it makes a Road Runner cartoon look like the work of Ingmar Bergman by comparison. Smashed heads sliced and diced ears banged up bodies galore--you want it Pineapple Express has got it. As the film’s ad line implores ‘put that in your pipe and smoke it!’ Rogen and Franco are the yin and yang of comedy here with wildly divergent styles that complement each other perfectly. Rogen plays Dale with such over-the-top hysteria and a high pitched sense of desperation he’s fun to watch--until you just want him to calm down and take a breath. Franco steals the film lock stock and barrel with his stoned-out weed maestro who clearly has ingested so much of the stuff himself that he qualifies for a place in the slacker hall of fame. With his parade of non-sequiturs and nonsensical ramblings Franco turns gentle Saul into one of the year’s most endearing and hilarious creations. Although the movie belongs to these two special mention should also go to Danny McBride who takes it on the chin (and everywhere else) as Red Saul’s unfaithful drug buddy and supplier. Cole is all evil menace while Rosie Perez shows up as his cop-tease accomplice. David Gordon Green a director previously known only for small downer indie films like All The Real Girls and Snow Angels seems to be getting off on all the toys producer Apatow has given him to play with. Adeptly handling the car crashes extreme violence and general anarchy on screen Green keeps the action moving and the laughs coming. The film is handsomely shot and production values are strong even though what’s on screen basically comes down to a how-can-you-top-this destruction derby. Working off a script from Superbad writers Rogen and his partner Evan Goldberg Green manages to evoke the spirit of a mismatched buddy movie along the lines of a Midnight Run but ratchets up speed tempo and noise levels to the needs of the average attention span for this type of flick. Take that Harold and Kumar! Although not as supergood as Superbad it’s all a lot of fun if you like your frivolity generously mixed with carnage. Huey Lewis also contributes a catchy title song that perfectly captures the whacked-out stoner spirit of the whole enterprise.
Pity Mitch (John Francis Daley). It's his first day on the job at Shenanigans--a take on the nationwide-chain Bennigan's. The waiter who trains him Monty (Ryan Reynolds) is the same one he looks down on him. Monty shows Mitch the ropes as well as the cooks' genitalia. Sorry there's no other way to put it. See there's this game that the male employees play whereby...let's just say it's one of many unspeakable "games" they play that'll make you watch the film as you would a horror movie: your hands covering your eyes with just enough space between two fingers to catch a glimpse. And these are just Mitch's first moments on the job. Over the course of his shift he'll meet a twenty-something named Dean (Justin Long) who's trying to go straight--that is do something else with his life; a pushover (Patrick Benedict) whose timidity carries over to the urinal; and a veteran waitress (Alanna Ubach) who barks profane tirades about her patrons but not to them. People knock the MPAA's sense of humor but if they truly didn't have one this gross-out flick would be slapped with an NC-17 rating.
A film set in a restaurant falls squarely on the shoulders of its actors. Thankfully Reynolds and company make good carrying the film and its script of top-that one-liners and well shenanigans. Reynolds while now a bankable star in avenues other than comedy clearly has a knack for this stuff. His comedic timing and delivery are truly first-rate never more so than in Waiting excelling in the sheer vulgarity he has to shell out. Dodgeball's Long as Dean is downright earnest next to his buddy Monty but it's his role to defer to Reynolds' eloquent sarcasm. Of course this doesn't totally preclude him from joining in on the fun. He's just forced to take more barbs than he can dish out. Anna Faris (from the Scary Movie series) flies even more under the radar as Monty's ex the only one that stands in his way of proclaiming his prowess second to none. Also making pitch-perfect appearances as malevolent employees are fringe-sters Luis Guzman Chi McBride Dane Cook and Andy Milonakis with Anchorman's David Koechner as the manager.
Waiting is not the type of movie in which a separate director and writer is required--it's a package deal. That's because--and let's be honest here--a film set almost entirely in one location without a single stunt person or special effect doesn't need more than one voice. To this effect writer/director Rob McKittrick makes his first foray into each arena. Needless to say his directorial debut is almost a non-entity but that's more complementary than detrimental on a project like this. His stinging commentary on the other hand displays a comedic deftness that is worth keeping an eye on in the future especially if Waiting does any business at the box office.