The 'Exorcist: Believer' and 'Halloween Ends' director needs to go back to his roots.
The Big Picture There aren’t many filmmakers working today whose filmographies are quite as wild as David Gordon Green’s. After a series of critically acclaimed independent films in the early 21st century, Green made a breakthrough as a comedy director with 2008’s Pineapple Express. While the comedy classic has now become a beloved, permanent fixation of stoner culture, Green’s subsequent comedy films failed to capture the same unique perspective that he had spotlighted in his early work.
Green continued his study of rural life with his subsequent films All the Real Girls, Undertow, and Snow Angels. While they all focused on similar locations as George Washington, they didn’t suggest that Green was simply capitalizing off of the success of his first feature and replicating himself. All the Real Girls was a poetic study of adolescent love, Undertow was a gripping thriller, and Snow Angels was a more existential study of a collective group’s loss of innocence.
2013 allowed Green to rebound with two more films that felt closer in line to his early work, and unsurprisingly, they felt like a return to form. Prince Avalanche didn’t feature any of the exaggerated setpieces or random comedy bits that he had been forced to incorporate into Your Highness or The Sitter. In fact, the indie dramedy focused on absolutely nothing but a series of conversations between Texan roadside workers .
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