Claiming issue movie

Hollywood’s relationship with the demon weed has undergone a slews of switchbacks over the quondam century, from the demonic giggling maniacs of ‘Reefer Madness’ to the heroic giggling maniacs of ‘Up in Smoke’. But it’s largely been depicted as a fringe activity for peacenik hippy throwbacks, not average working Joes.

‘Pineapple Express’ has its fair share of ignite-outs, not least James Franco’s affairs Saul. But our hero is legal process server Dale (Seth Rogen, above), whose constantly exertion is sweetened by judicious effort of the friendly leaf. This routine is cruelly shattered, however, when Dale witnesses a ruin and is forced to go on the pursue with sole the babbling, perma-stoned Saul for associates.

Written by the ‘Superbad’ team of Rogen, Evan Goldberg and Judd Apatow, ‘Pineapple Express’ is a knowing throwback to ’70s stoners-on-the-run comedies, replete with dirty cops, gangsters and manic slapstick violence. But, as directed by indie guru David Gordon Green, the film also displays considerable sweetness, a lightness of touch and a bottomless pit of character that set it succeed above its forebears.

At its kindness the film stands as an impassioned amity letter to the jazz baccy. A evanescent midway moment of hazy regret– ‘We’re useless when we’re high!’– is quickly brushed aside, followed by an upbeat row in which our heroes convey title drugs to minors. It climaxes with a marathon shoot-out in a weed warehouse. But there’s calm measure proper for a gloriously unexpected coda, a moment of quiet reflection and narrative ingenuity that confirms ‘Pineapple Express’ as the finest comedy of the year.