By Jordan Low
Those familiar with David Gordon Green’s career will agree that it is interesting to say the least. With films ranging from indie darlings to raunchy blockbusters, and equal amounts of box-office hits and flops, it is highly likely that you will enjoy a couple films of his, and not enjoy a couple as well. I first became interested in his career after the Amazon series Red Oaks (2014-2017), a rare and powerfully accurate portrayal of self-discovery during young adulthood which he directed the pilot for, amongst other episodes. As I started watching through his filmography, I found that same insight in varying degrees. Overall, Green is a rather unique voice who definitely warrants more praise for his versatility.
George Washington (2000)
Green’s debut film focuses on a group of children in a rural town who, after a tragic accident, struggle to deal with the horrible consequences, all while dealing with the normal difficulties of adolescence. Without foreknowledge, one would think this film was made by a veteran black director, such is the insight and naturality of how these young black children are depicted. Eschewing the common mistakes of films that star kids, Green wisely has their perspectives front and centre; we are invited to their world as if we were still children rather than as adult spectators. Indeed, it is my firm belief that Benh Zeitlin was inspired by this film when making Beasts of the Southern Wild (2012). Overall, a magical debut that is, funnily enough, a poor indicator of the direction of Green’s later career.
Rating: 9/10
All the Real Girls (2003)
Paul Schneider and Zooey Deschanel star as a jerk and his friend’s sister respectively, as they fall in love in a small town. Green continues his focus on rural communities with this intimate drama. Like an ‘adult’ counterpart to his debut, the character interactions and technical skill remain intact, and yet slightly tweaked to accommodate the older subjects. Although Schneider’s character is difficult to root for, Green continues to demonstrate his ability for creating real human characters through smart writing. Also notable for being Green’s first time working with his long-term collaborator Danny McBride.
Rating: 8.5/10
Undertow (2004)
With a story written by Terrence Malick under a pseudonym, Lingard Jervey, this film rounds out Green’s trilogy of rural-focused films and centres on two children (Jamie Bell, Devon Alan) being hunted by a charismatic but abusive uncle (Josh Lucas), merging Green’s intimate filmmaking with the wild crime and chasing of Malick’s Badlands (1973). The result is a sometimes depressing but ultimately entertaining look at brotherhood, responsibilities, and the serious problems facing communities without basic access to resources. Lucas is suitably terrifying as the uncle, and with hindsight, one can’t help but draw comparisons to some scenes of Michael Myers in Green’s Halloween trilogy.
Rating: 8/10
Snow Angels (2007)
Green’s final film before hitting the big leagues, Snow Angels is yet another intimate look at a small group of characters; this time through an adaptation of the eponymous 1994 novel by Stewart O’Nan. The film opens with a high school band practicing in their football stadium before gunshots are heard in the distance. From then on, we are introduced to a variety of individuals who all have their own personal problems that lead up to the tragedy. As is often the case with book adaptations, Green shows us key moments rather than telling each story from beginning to end. This focus on character over conventional plot may be frustrating to some, but the wonderful cinematography and lush score helps to bring everything together into an immersive whole that very few filmmakers can accomplish.
Rating: 9/10
Pineapple Express (2008)
With a surprising left-turn, Pineapple Express signalled to everyone that Green is capable of more than just indie drama. The influence of Judd Apatow is in full force, with his frequent collaborators popping up to help the film achieve its comedic merits. While there are genuine moments of wit and warmth, Pineapple Express too often relies on juvenile humour and slapstick comedy to keep the plot moving. Still, as long as you know what you’re getting into, the film can definitely end up being a fun two hours.
Rating: 5.5/10
Your Highness (2011)
The plot is as simple as ‘a prince and his brother go on a quest to save a princess’, but Your Highness ends up being Pineapple Express with a different setting, a worse script, and less technical cohesion. The actors play their roles effectively, although Natalie Portman feels a tad out of place as the aforementioned princess. Along with a few brief moments of surprisingly well-executed heart, another one of the film’s rare points of interest is the use of practical puppets. Unfortunately, there is still too little for non-‘stoner comedy’ purists.
Rating: 4/10
The Sitter (2011)
For the first time since his debut, Green focuses on a group of young children coming of age as they deal with criminal activity. Only this time, it is a gross-out comedy, and the kids are accompanied by a slacker (Jonah Hill) who babysits them while dealing with his own drug problems. Given his experience with both George Washington and Pineapple Express, The Sitter could’ve been a perfect blend of the two. Sadly, the result is a predictable and messy affair despite great acting from the lead children and Hill. Moments of warmth and humour are present but few and far between, and one can’t help but wonder if Green had all but lost his once-promising talent by this point.
Rating: 5/10
Prince Avalanche (2013)
After three crude comedies, this remake of the Icelandic film Either Way (2011) is a welcome return to Green’s early career. In the wake of a natural disaster, two road workers (Paul Rudd, Emile Hirsch) pass the time with each other repairing a remote country highway. Just like that, all of Green’s indie sensibilities return; beautiful cinematography, strong use of location, and a suitably tranquil score. Rudd and Hirsch have great chemistry even though both are playing against their usual type. While the minimalistic dialogue can seem odd at times, the film’s various strengths more than make up for it.
Rating: 8/10
Joe (2013)
Nicolas Cage plays the titular Joe, a troubled man who decides to protect a boy (Tye Sheridan from his abusive father (Gary Poulter). With its focus on a rural town and difficult families, Joe feels strongly reminiscent of Undertow and shares many of its assets. After a string of flops, Joe also serves as a comeback for Cage as he gives a powerfully restrained performance alongside the always solid Sheridan. However, the real revelation comes from Poulter, a real-life homeless man discovered by Green who tragically passed away the year of the film’s release. The complex chemistry between the three leads helps the film overcome some of its narrative shortcomings, resulting in a great character-based drama of the type that Green was once known for.
Rating: 8/10
Manglehorn (2014)
Manglehorn (Al Pacino) is an aging keymaker struggling to get over his long-lost lover when his life is suddenly reinvigorated by Dawn (Holly Hunter), a kindly bank teller who seems to accept him for who he is. Cult director Harmony Korine also pops up to steal the show as a jerk from Manglehorn’s past. After comedies and dramas, Green now tries his hand at a classic romance. The older leads, strong performances, and muted colours help to set the film apart from the countless indie films of this ilk, and yet, there is a nagging sense of familiarity about the whole thing. Still, a welcome entry into Green’s filmography.
Rating: 7.5/10
Our Brand Is Crisis (2015)
Sandra Bullock and Billy Bob Thornton lead this fictionalised account of the American involvement in the 2002 Bolivian election. With this film, Green seems to have finally figured out a way to combine comedy with his dramatic talent. The result is an entertaining if a bit formulaic film that brings to mind Adam McKay and perhaps Steven Soderbergh. Joaquim de Almeida, who plays the Bolivian presidential candidate that hires the American team, manages to hold his own against the two dependable leads. Less technically impressive than Green’s other dramas but more complex than his comedies, the film ends up being a sporadically funny affair that nevertheless fails to match the best political satires.
Rating: 6.5/10
Stronger (2017)
Based on the memoir by Jeff Bauman (played by Jake Gyllenhaal in the film), Stronger focuses on Jeff’s recovery after the loss of his legs in the 2013 Boston Marathon bombings. While the other studio film about the bombings, Patriots Day (2016), took a heroic look at the cops and firemen (or at least fictional versions of them) who caught the perpetrators, Stronger goes to the other, uglier side of the extreme; the difficult recovery of the victims. Unlike many feel-good films about the wake of disasters, Jeff is played as an unlikeable, angry, and very real man who is thrust into this new way of living. He refuses the help of his family and takes out his frustrations on his partner (Tatiana Maslany). It is this downbeat depiction that is Stronger’s strongest asset. Green restrains himself from giving Jeff any sympathy, and we as the audience are left to ponder how we would react to such a situation. Arguably Green’s best film since Snow Angels exactly a decade earlier.
Rating: 9/10
Halloween trilogy (2018, 2021, 2022)
Yet another new genre for Green, this sequel trilogy to 1978’s Halloween marks his first foray into both horror and franchises. Jamie Lee Curtis is back as Laurie, and so is her greatest enemy, Michael Myers. In Halloween (2018), Green brings the franchise into the modern day, as the influence of the A24 generation of horror is apparent in the lighting, cinematography, and overall construction of certain scenes. Newcomers and longtime fans alike will find something to enjoy, and it appears that Green and co-writer McBride have finally found their true calling.
In Halloween Kills (2020), the writers make the strange decision of keeping Laurie and Michael apart the entire film, choosing instead to focus on the local community’s reaction to the return of their worst nightmare. Anthony Michael Hall is a fantastic addition to the cast, and the building of tension up to the film’s chaotic climax is superbly executed. While this makes for a compelling film in its own right, longtime fans cannot be blamed if they feel tricked by the ending.
As if the previous film didn’t stray far enough, Halloween Ends (2022) takes the detour even further, with its main focus on all new characters who are nevertheless interesting. The themes of guilt, innocence, and growing up bring to mind the works of Stephen King, and the ominous cinematography by Michael Simmonds contributes greatly to this point. To the film’s credit, the well-shot opening sequence parallels nicely with that of the 1978 original, while a climactic battle brings the trilogy back to the franchise’s home invasion roots. On its own, Halloween Ends is a solid, complex, and expertly crafted film. As a franchise ender however, it is a massive failure, and one cannot help but wonder who the film is catered for. Thankfully, I have little attachment to the franchise and enjoyed all three for their individual merits, but putting myself in the shoes of a fan, I can imagine being sorely disappointed.
Overall rating: 8/10
To find out where David Gordon Green’s films can currently be watched, just search for them each here. And to find out five of his favourite films, a similarly eclectic list, just click here.
MELBOURNE UNIVERSITY FILM INQUIRER 