Yi said the producers "minimized" her accusations.
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She claimed on Intagram she was "bribed" with a bigger role when she quit because she, "didn't feel safe working with a f**ng sexual predator." Yi had appeared in The Disaster Artist with Franco, which was produced by Rogen. Last month, actress Charlene Yi had named Rogen as an "enabler" to Franco's actions. In an interview with the Sunday Times, Rogen said the scandal surrounding Franco, "as changed many things in our relationship and our dynamic." He also added, "I also look back to interview in 2018 where I comment that I would keep working with James, and the truth is that I have not and I do not plan to right now." (NOTE LANGUAGE) Seth Rogen is apparently severing ties with his pal James Franco following accusations Seth's Pineapple Express and This Is The End co-star was abusive towards women.įranco had been accused by a pair of his former students of bullying them into sexually inappropriate on-screen situations.Īlthough it was later settled, a lawsuit claimed Franco was, "engaging in widespread inappropriate and sexually charged behavior towards female students by sexualizing their power as a teacher and an employer by dangling the opportunity for roles in their projects." For Entertainment Weekly's take, click here. "Pineapple Express" is rated R and runs 112 minutes. It may come off as bitter at first, but "Pineapple" only has enough rough edges to disguise a heart of purest, sweetest mush. What he brings to the table is a disarming, sometimes jarring, naturalism and spontaneity - this is a far cry from Apatow's own point-and-shoot sitcom style - and a recklessness that jibes well with Rogen's proclivities for outrage and sentimental male bonding. Fans of "Dazed and Confused," "The Big Lebowski" and "Superbad" are already buzzing. Hitching a ride on the Apatow Express should score Green his first hit. The climax has a body count worthy of a John Woo movie, but it's delivered with such a giddily cartoonish splatter as to make it seem like trippy parody. He reveals a taste for laugh-or-cry slapstick shlock: a car chase is pepped up with the insertion of the driver's foot, stuck in the middle of the windscreen a lengthy fight with an obnoxiously untrustworthy ally (very funny stuff from Danny McBride) destroys most of his home furnishings. Green mixes agreeably mellow goofiness with panicky bursts of mostly inept, sometimes catastrophic violence. He has been inching toward the mainstream in recent years, but he's never touched anything as, uh, "high-concept" as this. None of this is what you would expect from Green, an independent filmmaker whose first two features ("George Washington" and "All the Real Girls") managed to find poetry in poverty and earned the director comparisons to Terrence Malick. But it's unlikely the movie's target audience will mind - half-baked isn't always a criticism. You couldn't say the film's erratic stop-go staccato rhythm makes for white-knuckle excitement. Earnest resolutions to stay clear-headed are immediately forgotten as they blunder from one potentially fatal misstep to the next. Instead of running for their lives, these fugitives light up, scare themselves silly and wind up snoring through the best part of a day.
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These days it's hip to take both the high road and the low, and Mr.
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If the "R" is meant to signal "mature content," most teenagers will know better.