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While it might sound outlandish to speak of THE PINEAPPLE EXPRESS in the same sentence as CITIZEN KANE, in its own little neck of the cinematic woods the Judd Apatow/Seth Rogen comedy is perhaps just as groundbreaking. In fact, it\’s nearly impossible to think of another film that blends so seamlessly pitch-perfect stoner babble with high-octane action sequences. <br><br>Dale Denton (Rogen), a process server with a weed fixation, witnesses a murder and turns to his dealer, Saul (James Franco), for support. The murderer is actually Saul\’s main drug supplier, and because of Saul\’s access to some extremely rare high-grade pot (called Pineapple Express) the two are quickly tracked down and put on the run. Like all Apatow/Rogen vehicles, the movie deals with the theme of men succumbing to adulthood and all the adjustments they are forced to make in the process. However, unlike KNOCKED UP and THE 40 YEAR OLD VIRGIN, PINEAPPLE EXPRESS is just too wacky to offer any lessons. Still, there\’s more going on here than giggles and the munchies. Indie director David Gordon Green (SNOW ANGELS) brings a subtle auteur\’s touch to the proceedings, approaching the smoking scenes with his distinctively loose feel and giving the action sequences a wonderfully dated sheen that makes them look more like a fight from KNIGHT RIDER than the empty flash of 21st-century blow-‘em-ups. It is Franco, however, who truly steals this movie–he hasn\’t been this charming since his days on FREAKS AND GEEKS. There\’s only so many ways to play a stoner, but Franco puts his own endearing, lovable spin on the type, portraying Saul as a kind-hearted, well-intentioned yet hardcore dope smoker. Rogen and Apatow have proven themselves a nearly unstoppable juggernaut; here\’s hoping they bring Franco along on the ride a little more often.

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STAR WARS: THE CLONE WARS showcases an entirely new look and feel to the galaxy far, far away - combining the expansive scope of the Star Wars Saga with state-of-the-art computer-generated animation. On the front lines of an intergalactic struggle between good and evil, fans young and old will join such favorite characters as Anakin Skywalker, Obi-Wan Kenobi and Padme Amidala, along with brand-new heroes like Anakin\’s padawan learner, Ahsoka. Sinister villains - led by Palpatine, Count Dooku and General Grievous - are poised to rule the galaxy. Stakes are high, and the fate of the Star Wars universe rests in the hands of the daring Jedi Knights. Their exploits lead to the action-packed battles and astonishing new revelations that fill STAR WARS: THE CLONE WARS.

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When the box office champ Ben Stiller\’s comedic performances aren\’t a variation on a soft-spoken, put-upon everyman with an eventual fuse, he\’s usually playing a full-blown absurdist monster with an apoplectic Napoleon complex. These bizarre creations usually adorn films in which the funnyman provides the supporting work (DODGEBALL, HEAVYWEIGHTS), but, whenever he\’s directing, he\’s free to build an entire filmic universe around his asinine, ludicrously funny, culture-skewering characters and premises. His ZOOLANDER (2001) bit at the entertainment industry with silly abandon, but Stiller has firmly set TROPIC THUNDER within the realm of sophisticated Hollywood satire. In it, a desperate director named Damien Cockburn (Steve Coogan) trying to make a Vietnam war movie drops his pampered actors into the heart of the jungle. Cockburn\’s stars include Stiller as an action hero who\’s starting to make bad career choices, Jack Black as an insecure low-brow comedy star going through heroin withdrawals, and Robert Downey Jr. as an Australian Oscar winner so lost in his “craft” he underwent a procedure to become black for his role. In the jungle, they remain under the delusion that they are still being filmed even after they encounter a dangerous gang of druglords. The film\’s basic premise has popped up several times since Hollywood\’s 1970s golden age in films such as THREE AMIGOS! and GALAXY QUEST. Where those films simply blanketed a classic Overconfident Bumbling Idiot comedy showcase with a pop culture lexicon, however, TROPIC THUNDER could have only been made, as on-the-nose at is, by people who have been working in the Hollywood system for years, making cutting observations along the way. Simply put, this raucous satire knows big-budget filmmaking, the delusional narcissism of actors, and even the good points of those actors–perhaps why they\’re celebrated–like the back of its hand.

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With the help of Lieutenant Jim Gordon and District Attorney Harvey Dent, Batman has been making headway against local crime…until a rising criminal mastermind known as The Joker unleashes a fresh reign of chaos across Gotham City. To stop this devious new menace–Batman\’s most personal and vicious enemy yet–he will have to use every high-tech weapon in his arsenal and confront everything he believes.

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The Roger Corman-produced cult favorite DEATH RACE 2000 (1975) gets an update in this reworking from action director Paul W.S. Anderson (RESIDENT EVIL). In a role sure to please fans of his work in CRANK (2006) and the TRANSPORTER films, Jason Statham is Frankenstein, the fierce driver portrayed by David Carradine in the original. The script, also by Anderson, largely does away with the original\’s satirical elements in favor an increased number of breathtaking crashes and stunt driving. In 2012, the American economy has collapsed, and prisons have been taken over by corporations. Overseen by Warden Hennessey (Joan Allen), Terminal Island prison generates immense amounts of revenue with pay-per-view broadcasts of “Death Race,” in which inmates participate in an auto race where anything goes. New inmate Jensen Ames (Statham), who has been framed for the death of his wife, is chosen to take over the role of Frankenstein, the contest\’s recently deceased masked star driver. His chief competitor, Machine Gun Joe (Tyrese Gibson), unaware that a new man is behind the mask of his old rival, will stop at nothing to win. With Case, a sexy navigator from the nearby women\’s facility, and a trusty pit crew led by wise veteran Coach (Ian McShane), Ames has a good shot at winning. If he does, he\’s been promised his freedom—but the race holds more obstacles than he can imagine, and ratings are more important to Hennessey than being true to her word. <br><br>Loud, gory, and lightning fast, DEATH RACE is geared to the video game generation, right down to the graphics that appear onscreen during the race\’s TV broadcast. Once again, Statham creates a great hero to root for in a performance that rises above the copious stunts and visual effects. Allen, in uncharacteristic role, is suitably imposing as the steely warden.

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