Word: apatow
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Dates: during 2000-2009
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...critic's brain that goes soft, or just the movies he's paid to see? At this time of year, all films start blending into one: something about a comic book superhero with arrested-development issues who saves the world while making pee-pee jokes. Produced by Judd Apatow...
...promise to meet with his student girlfriend's parents. (Cf. Elegy, a romantic drama that has nothing else in common with Pineapple Express.) Finally, it's the third picture this summer, and the eighth in the past 14 months, that was produced, written or otherwise perpetrated by Apatow. Take a deep breath: Knocked Up, Superbad, Walk Hard, Drillbit Taylor, Forgetting Sarah Marshall, You Don't Mess With the Zohan, Step Brothers, Pineapple Express...
...Working from Apatow's notion to graft an action-movie plot on a dope-movie premise, Rogen and Goldberg came up with a concoction that synthesizes the standard thrills of the first genre while exceeding the usual humor quotient of the second. Granted, that's not the toughest job, and Pineapple Express aims for nothing more than rowdy fun. Still, director David Gordon Green - who has made some terrific indie movies about isolated youths (George Washington, Snow Angels) and probably took this job cause he wanted to make a movie more than a handful of people would see - mixes...
...Johnson (Kevin Costner) is a loser, a wastrel, a jerk--and not one of the purportedly adorable kind in the Judd Apatow movies. The stupor Bud drinks himself into each evening leaves him barely able to drag himself to work the next morning, let alone care for his young daughter Molly (Madeline Carroll). His employer has been "insourcing" Mexicans who'll work for less money and firing hapless guys like Bud. It's no wonder that feeling disenfranchised, disaffected and perennially dissed, he belongs to what would be by far the largest U.S. political party: the We Don't Voters...
...root for these teens, even Megan, the somehow-poor little rich girl. But it's also tough to ignore their similarities to countless characters in teen dramas and comedies. John Hughes sculpted a career writing about kids like these in The Breakfast Club and Pretty in Pink; Judd Apatow's Freaks and Geeks mined the same vein. Burstein's film is way more earnest, but she's learned a lot, maybe too much, from the movies' take on teendom. Rather than offer a gritty view, upending the familiar vision of high school angst, she has fashioned a work so smooth...