Daniel Barnes @ the SN&R (4/16 issue)

index*The James Franco/Jonah Hill drama True Story, which explores the questionable relationship between a disgraced journalist and a suspected killer, is a pedestrian effort on many fronts, with very little narrative urgency—it’s not so much a game of cat-and-mouse as it is as game of mouse-and-mouse, minus the game.

*Stoner movies used to be about something: nihilism, rebellion, anti-authoritarianism, farting in vans. Now, it’s just Seth Rogen dancing to hip-hop with his shirt off. The high-as-hell Comedy Central show Broad City blows all of that bromance bullshit away, and the only cinematic stoner comedy of the last decade worth a damn was adapted from Thomas Pynchon. In celebration of 4/20, I prescribe some underrated/overlooked stoner movies from decades past to chase away those Judd Apatow procreation fantasy blues.

index*Much like last year’s Bears, the Disneynature documentary Monkey Kingdom focuses on a struggling single mother dealing with dangers from both outside and inside her troop, but the film tries too hard to manufacture a storyline. It’s never clear why we’re supposed to root for one group of monkeys to defeat another group of monkeys, except that some of the “bad” monkeys have facial scars, and facial scars equal evil.

*Broken Horses is the first English-language production for Vidhu Vinod Chopra’s India-based production company, which at least partially explains why good actors like Thomas Jane and Vincent D’Onofrio behave as though English was their second language. It’s hard to tell if the film is an unfunny joke or an earnest failure, but ham-fisted symbolism and sloppy plotting rule regardless