I should preface this review by saying that this movie only works as a second act of the first Daniel Craig iteration. There is less character development in this movie and it is – dare I say – artsier? I’m not sure if I can back up the artsy comment (Back says she can so check the comments). The character development was definitely less though. The movie assumed a lot from its viewers and that might have created a problem for movie goers who like being spoon fed action plots.
A further issue I see with this movie is that Casino Royale broke the mold of the previous Bond movies and set the bar extremely high for its sequel. Unfortunately, that put it between a rock and a hard place. Quantum had to simultaneously break the mold and live up to the first movie. In effect, it has to do what the last one did and do it in a new way, while ignoring the fact that the last way worked pretty well.
In a three act play, the second act is darker and perhaps doesn’t end as the viewer might expect it. While the first presents that plot and the third resolves it, the second act makes it murky. In that way it can leave viewers less satisfied because there aren’t any easy answers. What is the Quantum? Was the villain Green – like White - was just another step up the corporate ladder? Will Bond ever get over his lost love? All of these questions are left more or less vague by the end of the movie but I don’t mind complexity.
The “Bond Girl”, Olga Kurylenko, does a decent job in her role and I’d be interested in seeing more of her character but at times her choices seemed not exactly fitting. Maybe that is a result of the Paul Haggis writing but I’m not sure. Then again it wouldn’t be a Bond film if there weren’t a few issues that made the moviegoer think there is an easier solution than the characters came up with.
I do have complaints though. The redhead MI-6 Bolivian desk worker – Fields – was disappointing. The only way I can reconcile her acting and actions is by saying that her jump into bed attitude was an homage to the Bond of old who slept with three or four women each movie. Her original costume was absurd as well and she constantly walked as if they had just plucked her off the runway. Her only redeeming value was literally her exit from the film. That truly was an homage to Goldfinger (Link is a Spoiler). The irony that oil is today’s gold and often called black gold may have been lost on some movie goers though. Also, the credits list the character’s name as Strawberry Fields – she refused to give it in the movie – so that gets a har-har on the laugh scale.
Overall, I enjoyed the ride. I have recently been told that there wasn’t enough action but I disagree. Though it had plenty of action it wasn’t one long fight scene and that is good. There are too many hacks making action movies that think that action (pronounced: explosions) equals plot.
Forth and I had a big day last Saturday. We went shopping. Clothes shopping. And we spent a ton of money. If you were nine years old, you might say, “a butt ton.” We decided to hit up an outlet mall near the Illinois border and essentially made ourselves posterchildren for Banana Republic and J. Crew. Chic? Yes. Preppy? Eh.
I blame this on all the What Not to Wear. For example, I was indirectly instructed to look for a-line skirts, dark wash straight-leg jeans that sit at the top of my hips, natural fibers, saturated neutral colored tops that emphasized the smallest part of my torso. And et cetera. The point here being is that Forth and I added a good chunk to our wardrobes and ya’ll should watch out, because we look HOT.
In other news, I saw Mamma Mia! last Friday. It was my cousin’s idea to go, otherwise I doubt it would be something I’d see on my own, and Forth would certainly not touch the movie with a 10-foot pole. Mamma Mia! is not a film to be taken seriously. But if you don’t–it’s AMAZING. It’s like Meryl Streep had a crisis and decided that she wanted to star in this movie and then took acid and created the new Mamma Mia. Sometimes the bright colors with the Euro-pop made my heart explode with completely forced joy. But I loved it…..and Colin Firth too.
Disclaimer: I turned this in for my journalism class so that’s why it’s all structure-y. You will quickly find that I liked the movie slightly better than Forth. Alas, read on:
In theaters nowadays, funny usually means Judd Apatow. However, his latest production may be better viewed when as high as the actors in it. Though “Pineapple Express” is largely regarded as a weed movie with action/adventure flair, it actually pulls through as a mildly amusing buddy film.
Apatow has produced a number of quality comedies within the past few years, including “The 40 Year Old Virgin,” “Anchorman,” “Knocked Up,” “Superbad,” and “Forgetting Sarah Marshall.” Audiences have come to recognize the crew of actors usually featured in Apatow’s films, namely Seth Rogen, Paul Rudd, Jonah Hill, Jason Segal, and Steve Carell. Featuring just one of these main players (Rogen) to carry the movie through, “Pineapple Express” stumbles but doesn’t fall completely flat.
Rogen stars as Dale Denton, a 25 year-old bumbling stoner with a dead-end job and a high school girlfriend. He buys his weed from a guy named Saul (James Franco), a hippie-dippy drug dealer selling marijuana to pay his grandma’s nursing home bills while aspiring to be a civil engineer.
On the way back from making a purchase at Saul’s, Dale witnesses a murder outside the home of the city’s largest drug lord, Ted Jones (Gary Cole) by Jones and a female police officer (Rosie Perez). The criminals notice Dale as he clumsily leaves the scene, and thus he and Saul run and hide in fear of being identified by the rare type of pot, deemed “Pineapple Express,” that Dale was smoking at the time.
In a recent interview with The Onion, Seth Rogen insisted that “Pineapple Express” is not a weed movie such as “Cheech and Chong,” but merely a movie in which people smoke pot while doing other things, much like “Dazed and Confused.” When placed next to the cult classic that “Dazed and Confused” has become, “Pineapple Express” toddles on its worn Converse sneakers.
“Pineapple Express” isn’t so much an action movie as it mocks other action movies. Just like Quentin Tarantino imitates B horror films with his “Grindhouse” duo, it is clear that writers Seth Rogen and Evan Goldberg decided one day that it would be great to make a funny mock-action movie where stoners saved the day. Tarantino is decidedly subtler in his efforts; There is nothing discreet about a bloodied and filthy Rogan triumphantly carrying the limp Franco out of a burning building to a perfectly clichéd action-movie soundtrack.
“Pineapple Express” also brings to mind the 2007 flick “Hot Fuzz” starring Nick Frost and Simon Pegg. While “Hot Fuzz” was seemingly created as an excuse for the actors and directors to blow things up, “Pineapple Express” successfully puts an emphasis on friendship and discovering who your real buddies are, once the smoke (literally) has cleared.
The film is by far not the best of the Apatow set. Rogen simply can’t make his jokes work by himself and without Carell, or Rudd to play off, his jokes often fall at Franco’s feet. Even so, James Franco pulls off a surprisingly convincing comic performance, which is a major diversion from his best-known roles as James Dean and Spiderman’s best friend-turned-enemy, Harry Osborn. Rogen seems to step back into the role of Ben Stone, which he created in 2007’s “Knocked Up.” But this time, his chubby, loveable slob is slower to accept his given predicament.
If you know Apatow films, you know that the comedy lies mainly within what is spoken, with a good storyline behind it. “Pineapple Express,” on the other hand, puts its faith in physical comedy, drawing its appeal from gratuitous fight scenes, numerous quick bits showing guns being cocked, and of course, how many joints one person can possibly smoke during the course of a day.
Visually, the film was nondescript. While director David Gordon Green was a surprising choice for such a film, as he is known for more serious art-house productions like “Snow Angels,” “Undertow,” and “George Washington,” the cinematography complimented the film but did not stand out.
“Pineapple Express” was a great break from the vulgarities usually produced by the writing style of Seth Rogan and Evan Goldberg. Shockingly, promiscuous hand gestures kept to a minimum and sex was almost a non-issue. Rogen is great for creating slow-advancing, awkward conversations and jokes that work perfectly with the characters he writes, and this film is no exception there.
Teenagers and frat boys aside, “Pineapple Express” is best appreciated if you are familiar with the other films connected to Judd Apatow and Seth Rogen. There is a certain string of humor that carries throughout those certain films, as well as a handful of familiar minor faces like Craig Robertson and Ken Jeong. If you’re cool with casual weed humor and considerate of the fact that the script was created seven years ago when Rogen and Goldberg were of slightly lesser maturity, then grab some popcorn and climb aboard the “Express.”
“That movie was hilarious. That might just have become my new favorite comedy of all time”/”Totally.”/”It’s like someone made a movie that was my life. Finally.” – If you just saw Pineapple Express in Milwaukee and said this when coming out of the movie, I was standing next to you while waiting for Back. I just wanted to let you know that you’re probably not my target demographic.
Midway through Pineapple Express I needed to use the restroom. Normally, when this familiar occurrence happens in a movie, people will wait until they feel it is the best possible point to leave and not miss much. During this movie I thought, “meh, why not now.” That is my general take of it as a whole. I could have left at any point and not really missed much. In fact, as I returned, I thought, “boy I wish I had just spent my money on a second viewing of The Dark Knight“. Knowing I was going to come back and talk about it here, I kept thinking of comments like that to make but, in the end, the movie is just another in the crowd. The characters are mostly caricatures and the comedy, as well as the action, is generally too drawn out to make it worthwhile. The narrow section of the public that is going to like it did not require much in the first place so it will be unfortunately successful.
A movie with this straightforward of a plot is usually character driven. These characters were not up to it. Seth Rogan, of Apatow fame, reprises his role as Seth Rogan. His character is generally indistinguishable from that of Knocked-Up with a lesser quality cast. The only noticeable difference is that his character is possibly less mature and there seems to be little or no theme or moral other than don’t get killed. His supporting cast is less than funny at times. James Franco’s Saul was mostly believable but most of the time unfunny. The character of Red was aggravating and would have been better played by Will Ferrell. Gary Cole and Rosie Perez were equally uninspired annoyances and at times a distraction. This movie cried out for a Paul Rudd moment anything to push it beyond ordinary.
Do I sound like a crotchety old man telling the kids to turn down that noise and quit smoking that marijuana? I hope not. I was not the only one not laughing in the theater and, while I have never been into the scene, I have found similar movies more than funny. I liked Knocked-Up, Half Baked wasn’t bad, Fast Times at Ridgemont High was better, Dazed and Confused was great, Superbad was good, and then there is always Old School. Go see any of these movies instead. Old School is the movie I continually go back to when reviewing movies. Here we find Will Ferrell and Vince Vaughn at their best. Their overbearing comedy is held in check by the comic team and Luke Wilson as the hesitant straight man gives it a quality that is seldom approached in the multitude of movies made since. Maybe the names are too big now to get all of them in the same movie but it seems as if every movie made in that mold since is attempting to unsuccessfully live up that comedic team.
In the end there will people who like this movie. I imagine the initial pitch was: “two guys act like children while high”. Response: “Hey, if Seth’s in it, we trust you guys”. Unfortunately, that vehicle can only take a film so far. I went into this movie expecting to really enjoy it and I was disappointed by the repetitive nature of the humor and the lack of the funny lines that I expect from Rogan. The writing was more “stupid” than it was funny. The disappointment is not that the movie was not good, but that the writers were trying so hard to appeal to the lowest humor that they forgot that Seth Rogan can do better -nay, funnier- lines. Looking back at the writing credits, I may have to say I have an Evan Goldberg issue. Rogan did better work when Judd Apatow was the writer and Goldberg was not in the credits.
Like I said though some people will like this movie, claim it is the second coming, and for them I offer a line from a movie that knew how to do it- “The world needs ditch diggers too, Danny.“
Added in Post: I wanted to bring up a movie I mentioned in the comments that I’m looking forward to: Burn After Reading. The Coen Brothers are by far a better commodity to attach yourself to than the Apatow crew.
So The Dark Knight was good. With that comment I have put myself in with the majority of people that have seen it. I want to get that out of the way now so I don’t hear complaints when I go the other direction.
As G.H.Hardy wrote “it is not worth the intelligent man’s time to be in the majority. By definition, there already enough people to do that.”
As I said, I like it for all the same reasons that everyone else did. The story was a roller coaster, the effects were often stellar, and of course The Joker was terrifying. For the record, my favorite Joker line was when he asked [spoiler] how many of his friends he had killed. When [spoiler] says six, The Joker makes that face and says “six” in such a comical way. Outstanding.
I also had issues with parts of the movie. Now I can not get into specifics because it is way to close to the release date to be spoiling it but I can say I got the “wow, this is long” feeling. Now, I agree there are no parts that I would take out, unfortunately though there was one section where it really felt like they were approaching a natural end but then it was not. This was due to choice made with the movie. It could easily have been that length and have me not notice if it had not dropped the momentum so low at that point. If you have seen it, you know which point I am talking about. On The Totally Rad Show one of the hosts, Alex Albrecht, said it was “like a giant boat load of ice cream. It was all goodness but you just go, ‘I think that was maybe a little much for the ice cream.’”
Also, it was either a great idea or a mistake to see Ironman only two weeks prior to seeing The Dark Knight. There were fewer missteps in Ironman but The Dark Knight was a bolder movie. The genre and the release dates of the movies though lead to the inevitable comparison. The biggest issue I have at this point is that Robert Downey Jr. does a better job than Christian Bale, and this is Bale’s second time in the roll. Of course… It is Robert Downey Jr. I mean.. come on. The makers of Ironman made an excellent choice in that. But, imagine if Ironman 2 has the advantage of a demonic villain portrayed by an Oscar nominated actor in an Oscar-worthy role.
The reality is, I would not want Bale to play Ironman and I would not want Downey to play Batman. Likewise, the script for Ironman was, in places, better. Bale had a couple of moments that were not very well played but in my mind they are directorial choices. I imagine it was someone else’s idea to take his voice to that guttural level. It was fine in Batman Begins but they took it too far in The Dark Knight.
Reissuing my statement: I really liked this movie. See it. The Joker is… inexplicable. I was not too bent out of shape when Heath Ledger passed because there are tragedies every day and I was not particularly attached to his (at least not in the same way as Back for sure) but now… I’m so disappointed that we will not be able to see him continue to develop this role. Further, I feel bad for whoever takes the role next. At first, I went into the movie thinking they couldn’t make another movie with The Joker, but now I’m of the opinion that the show must go on.
Okay, so Forth and I really liked The Dark Knight. Actually I liked it more than he did, but then again, Heath and I go back a long ways. Sure my mother wouldn’t let me go see 10 Things I Hate About You in the theater because it included the word “hate,” but as soon as that thing was out on video, we were there, and so it began. Patrick Verona, the scene with the paintballs and Julia Stiles and the haystack…augh!!!! Sweetness. My very best friends and I have been with Heath through it all–The Patriot, A Knight’s Tale, The Order, The Four Feathers, Brokeback Mountain, I’m Not There, and finally….The Dark Knight. I can still see the Knight’s Tale movie poster tacked firmly to Em’s bedroom wall, sexily regarding us as we did each other’s make-up and burned incense and drank sparkling grape juice.
Heath, I would totally name my son after you. I’m sure Forth would happily oblige….
No other celebrity death has had such an impact. Though he should have stuck with Michelle Williams and stayed away from Mary-Kate Olsen (a twin? really?), I am extremely glad the Joker will be his lasting imprint on the face of cinema. After all, nobody really wants to go out as a gay cowboy. And screw the drug allegations and rumors swirling about his death–Heath Ledger was astoundingly gorgeous and talented and let’s face it–made The Dark Knight what it is. I am 100% certain he will be awarded an Oscar next year, and rightfully so.
As for the movie on the whole: Brilliant, especially the tunnel chase/shoot ‘em-up scene. With those actors you can’t go wrong, although I’d like to know when Batman started growling like a rabid hyena. However, his jaw is always chiseled enough that I can get past it. Basically, I will leave the rest of the movie review up to Forth, since he is better at these sorts of things.
However, I would like to issue a PDA to the citizens of Gotham City: Stop building so many skyscrapers with the g’damn huge glass windowpanes. Can you not see they are a HUGE disadvantage to your wellbeing?
Though the vast “majority” of our “consistent readers” are male, I will still share in the follow news:
I GOT A WEDDING DRESS! I GOT A WEDDING DRESS! I GOT A WEDDING DRESS!
Sure I wasn’t all excited about it at first, but then when Forth and I went to the Northwoods for a wedding and I saw how freaking gorgeous that bride looked in her ivory strapless, bubble-hemmed, embroidered number–well, I decided to care a bit more. I don’t have to proper genetics to look as amazing as that girl did, but….I can try. Oh and props to me mum for “just not feeling right not paying for my daughter’s wedding dress.” We’ll go out to eat with that extra $600, I’m sure.
That said, there was a recent increase in movie-watching upon the visit of my lovely sister, Viana_17. Long story short: skip The Other Boleyn Girl (unless you’d enjoy 2 hours of Elizabethan miscarriages and childbirth), enjoy but don’t necessarily purchase Across the Universe, and if you didn’t see Iron Man on the big screen—shame on ya’ll. The only thing that would make that movie better would be if Jeff Bridges casually sipped a white russian during his all vengeful plotting scenes. Forth and I also watched Broken Flowers which is essentially a broken movie and should be traded with The Life Aquatic. Just a note to Jim Jarmusch: you are not Wes Andersen. Nor should you try to be. Ever again.
The second best movie I’ve watched recently (Forth refused) was the Bob Dylan biography of sorts, I’m Not There. The notion of how the movie was put together was very creative, though the artsy bits were a tad overwhelming and tired at times. With a cast like Heath Ledger, Richard Gere, Cate Blanchett, and Christian Bale, it’s a wonder this film didn’t get a little more publicity–or perhaps I just didn’t notice. Good music, good acting, good movie. Here is a picture to celebrate it:
To bring this thing full-circle with wedding stuff, who the hell invented save-the-dates? Why are they really necessary? Why will I spend $200 on coaster-sized customized magnets to politely remind friends and family that I succeeded in snagging a husband? If I’m not significant enough in your life for you to remember that I’m getting married within the year, you can wait for the formal invitation. Psh.
I went into this movie not expecting much. I mean… I had been warned that this wasn’t a great film but I was willing to take it for what it was worth. Unfortunately for me, it was not worth the digital bits it was printed on. Within the first two minutes of the movie Ford’s character of Indiana Jones is being held by Russian operatives on a sound stage digitally enhanced to look like Area 51. His voice does this… thing?!?… that led me to say WTF audibly. I looked over to T-Dizzle and said it. He sounds like he’s trying to do some sort of high pitched impersonation and it is damaging.
That damaging moment aside, the movie was flawed. I will lay it out like this: visual staging, plotting, and finally writing.
Visually the movie is a distant cousin of its hit predecessors. The movies from the past were set in exotic places as was this movie. Where this movie misses is the fact that it wasn’t filmed in exotic places. Now, I have no idea where the movie was filmed in its entirety but I think it is clear that a good portion was filmed in studio. My opinion is that lately some in Hollywood seem drunk with the power computers and digital effects are giving them. There must be a gilded plaque somewhere that reads we can do it on site for 10x and in studio for 2x. The promise of gold is there but it never delivers. In particular, I’d point to the jungle chase scenes where the cast was clearly not on site but instead in what I can only describe as an artist’s rendering. This drunken disregard for authenticity wasn’t restricted to the exotic though. Even the train station and the soda bar look like a set that was less gritty and more hollywood than any one scene from the original three movies.
Plotting, blech. I can not even count the number of blunders in plot choices that we experienced in this movie. From the very exposition, in which Jones finds a highly magnetized artifact with gun powder that flies through the air to the end when the final dungeon is a tour de force in how many different ways they can figure out how to open doors, there were unnecessary gimmicks. Often the highly magnetized skull is arbitrary in what it attracts, most notably not attracting much of the weaponry on a consistent basis. Also, there were plot references to a disgusting number of historical events. As if by mentioning every fifties and prior iconic event the story became historical. So I list: Area 51, Roswell, Poncho Villa’s rebellion, Los Alamos nuclear testing, the 50’s diner, WWII, the cold war. What is worse is that Jones is made to be a hero of all of these events. Rather than a rogue professor he is a great American hero in every sense possible. Part of the grit of Indy was that he was willing to spit in anyone’s eye and be a out there on his own. While this movie doesn’t negate that it does make him seem a bit less real and a bit more cartoon hero. My further problem was the implementation of the sword fights. It seemed as if this was introduced solely to facilitate the later -ridiculous- sword fight across two jeeps. As if George Lucas thought, “you know what would be cool?!? A sword fight on jeeps” and then went about finding an absurd way to introduce a sword into the movie. I’ll not even get into much of the other plot events that made me skeptical including the continually trusting the two timing jerk partner just for the comic relief or to keep the bad guys on their trail.
The Script was laughable. I think George Lucas is GREAT and Harrison Ford can be unparalleled and is at times the archetype of the roguish hero, but in this movie both fall flat. The script is blasé and the delivery is subpar. I do not know which beget which but I am going to blame the script. There were many many many times when I would groan inwardly at a line that had little comic timing or was an insult to the audience’s intelligence. Back mentioned that there was too much “on the nose” writing. Which apparently is dialogue that says what the characters are doing. There were the aforementioned references to every “cool” historical event, but further there were unnecessary nods to Indy’s dad and Marcus. The nods were done poorly, too. It felt clumsy and forced. Later when Marion reappears, the arguments and portrayals were similarly weak. Further, while Cate Blanchett is quickly becoming one of the most sought after actresses, I failed to at anytime see her as an equivalent to priorvillains in the series. Her character was flat and -once again- a weak comic book portrayal.
In sum, this movie probably would have been better as a National Treasure script because we are willing to accept less but I will point out that in National Treasure, I bought the Arctic scenes. They looked as if they were shot outside. If Indiana Jones and the Kingdom of the Crystal Skull had been any other movie but a Jones, I would have either not gone, or walked out. Very few times in my life have I said as much and very few times have a been this appalled.
Of course Forth would elaborate on the technology issue, but since this is a blog after all, I guess it is only fitting. I, on the other hand, am here to bring the entertainment. In the span of time we have been interwebsless, we have watched like, 4 movies. We saw The Seven Samurai, 300, Annie Hall, and Deathproof.
I couldn’t bring myself to watch The Seven Samurai for more than five minutes in passing between the bedroom and the living room. It’s old, weird, and the dudes were wearing super-obvious bald caps which I just couldn’t get past, along with the soundtrack of a baby crying despite the fact that this kid was supposed to be seven years old. Of course I was just being stingy about the movie and the small technical errs only put me off further.
300 was not a new film for me. I watched it this summer with my old roomies on a ginormous TV. Though not the big screen, it was pretty close. I thought this movie kicked ass the first time and it was only better the second time around. The acting is great, and Leonidas’ wife is The Hot. If Theron wasn’t such a jerk, it would have been hot to watch those two get it on (non-rape style). I like the combination of pseudo-reality and action without being too comic-booky, as Sin City was. This is SPARTAAAAAAAA muthafuckas!
Annie Hall was for lack of a better word, disappointing. Everyone gets off on Annie Hall and it was like, the launch of Diane Keaton’s career and whatnot, so my expectations were kind of high. It wasn’t a bad movie–Forth decided on 3 out of 5 stars, and I agree. It was humorous, smart, and well made. In fact, I consider it a very worthwhile popping of my Woody Allen Film cherry–no regrets. My biggest problems were the lack of real plot, Woody Allen’s persistent fuglyness being thrust into sexual situations, and Diane Keaton being young and naive. I like her old, bold, and stylish.
I also like Tarantino films and Deathproof was super-fab. The story was just ‘meh’ but the style of the movie, the dialogue, the music, and the action was perfect. The subtle and not so subtle references to Pulp Fiction, Kill Bill, and Reservoir Dogs were also entertaining all the way through. I am so looking forward to seeing the other half of the Grindhouse movie duo, Planet Terror. Fergie supposedly makes an appearance, but we can get past that….
Coming later this week: Back discusses The Real World, and why it still has an iron-clad, yet loving grip on her soul.
Tonight my sister and I went out on the town for dinner and a movie. Despite the fact that we got the bottom contents of the popcorn machine, it was a satisfactory Judd Apatow experience.
The first thing we find out when watching Forgetting Sarah Marshall is that Jason Segal is circumsised. Uh, thank God for that. With all the initial penis-flashing, I was really afraid that they were going to rely on such “gags” to hold the movie up. As it carried on, Jason Segal and Kristen Bell acted as though they were the only two people in a very quiet, empty auditorium, and all I wanted was for Seth Rogan to rush in and save the day. However, as soon as our protagonist Peter (pun intended?) gets to Hawaii, Jonah Hill and Paul Rudd show up and help the movie eventually stand on its own two (completely Rogan-less) feet.
Ever so slightly more romantic comedy than raunch-fest, Forgetting Sarah Marshall brings three new faces to the Apatow Family–Kristen Bell, Mila Kunis, and the hilarious Russell Brand. Brand stars as English rocker Aldous Snow and I can only hope that he pops up in another film soon, perhaps as a slightly less stereotypical character. Mila Kunis was lovely and cute and I really enjoyed her role, though perhaps it’s because I’ve only ever heard her as Meg Griffin and the annoying Jackie of That 70’s Show. Forth will be more than pleased to know that Kristen Bell not only acted much better than she does in Heroes, but she looks unbelievably hot and well-dressed throughout the film. Bitch made me want to buy a treadmill and a bag of carrots and I’m not even that kind of girl. Even more, her role is rife with sexual instances, all of which I’m sure Forth will be happy to witness.
Perhaps Apatow will work into making each of the usual suspects a main character in one of his films–but maybe only if they write it, as Jason Segal did this time around. I think Paul Rudd is more than overdue for a starring role that doesn’t suck, but then again I fell in love with him circa Prince Paris in Romeo+Juliet. To end with a bit of hilarity from his character Kunu, “I like her red hair. I wonder if the carpet matches her pubes.” Ah, comic gold.
