Verminous homosocial at its worst. I hate American comedy in 00's because so-called bromance relationship aka "I like him cause his girl suck my dick"-like friendship is so disgusting. Seth Rogen & Judd Apatow's sense of values at this time is unbelievably sexist & homophobic, making me feel like "20 years ago is 20 years ago but 10 years ago is 100 years ago." Why, why did David Gordon Green waste his own talent?
The dialogue was amazing, the scenarios were hit or miss, but the ending just killed it. The drained all the humour out and then tried to reinject some with the final scene, but this movie could have been twice as good if they cut 30 minutes from the ending.
It was a little strange to me that very little of Green's sensibility made it into the film but I did enjoy it. Not great in any oeuvre of anyone involved but not bad either. I really enjoyed the last scene at the diner.
This isn't the best of the Apatow-esque comedies, but it's impossible for Seth Rogen not to make me laugh. The big surprise is James Franco who trades his pretty-boy looks for a dopey stoner role to great comedic effect. However, it's Danny McBride who steals the show as the indestructible Red. It's a fun, if meaningless, ride.
Incredibly entertaining comedy is an interesting change of pace for director David Gordon Green. Fast, original, and very very funny - the cast is perfect, and it finds just the right blend of goofy comedy and brutal violence. This one absolutely deserves a long and healthy cult following.
One of my favorite comedies, I am surprised and very excited that this got made in Hollywood today. It's a genre masher that is insanely funny, has tons of heart and lots of great action. Think "Midnight Run" meets "Cheech and Chong" with the sensibilities of the Apatow gang. It's ridiculous and it's suppose to be. I wish more movies like this was put out in the industry.
Expressing platonic affection is healthy and more men should do it. A buddy comedy rife with homophobia, disproportionate ethnic villainy and, most egregiously, lengthy sequences without discernible jokes. The Seventies touches, while present in the costumes and between-scene transitions, never cohere into anything beyond aesthetic distraction and fail to comment on the legacy of that decade's radical cinema.