Infinifilm Edition

Blow (Infinifilm Edition)

Based on a true story Blow gives us a fast-paced look at the quick rise and fall of George Jung (Johnny Depp) who became a premier importer of Colombian cocaine in the turbulent 1970's forever changing the face of drugs in America.Running Time: 123 min.System Requirements:Starring: Penelope Cruz Johnny Depp Rachel Griffiths Ray Liotta Jordi Molla Franka Potente and Paul Reubens. Directed By: Ted Demme. Running Time: 124 Min. Color. This film is presented in "Widescreen" format. Copyright 2001 Warner Home Video.Format: DVD MOVIE Genre: DRAMA Rating: R UPC: 794043528422 Manufacturer No: N5284

A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the '60s, multiplies his fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: Blow is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade, and got exactly what he deserved. As directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic... and utterly aimless in terms of overall purpose.

We can't sympathize with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolize a drug dealer. So what, exactly, is the point of Blow? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and there's plenty of humor mixed with the constant threat of violence and paranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penélope Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of Traffic. Still, one wishes that Blow had a more viable reason for being; like a wild party, it leaves you with a hangover and a vague feeling of regret. --Jeff Shannon

Thirteen Days (Infinifilm Edition)

When released in December 2000, Thirteen Days was pummeled for taking liberties with the facts of the Cuban missile crisis and smothering its compelling drama with phony Boston accents by its primary stars. More tolerant critics hailed it as one of the year's best films, and that's the opinion to believe for anyone who enjoys taut, intelligent political thrillers. For those too young to relate directly to the timeless urgency of the crisis that played out over 13 days in October 1962, Thirteen Days joins the classic TV treatment The Missiles of October (1973) as an intense and thought-provoking study of leadership under pressure.

The film (and costar-coproducer Kevin Costner) drew criticism for fictionally enhancing the White House role of presidential aide Kenneth O'Donnell, but while Costner's Boston accent may be grating, his fine performance as O'Donnell offers expert witness to the crisis, its nerve-wracking escalation, and the efforts of John F. Kennedy (Bruce Greenwood) and Robert F. Kennedy (Steven Culp) to negotiate a peaceful settlement with Russia. While Soviet missiles approach operational status in Cuba, director Roger Donaldson (who directed Costner in No Way Out) cuts to exciting U.S. Navy flights over the missile site, ramping up the tension that history itself provided. Donaldson's occasional use of black and white is self-consciously distracting, and he's further guilty of allowing a shrillness (along with repetitive, ominous shots of nuclear explosions) to invade the urgency of David Self's screenplay. Still, as Hollywood history lessons go, Thirteen Days is riveting stuff. You may find yourself wondering what might happen if reality presented a repeat scenario under less intelligent leadership. --Jeff Shannon

The Butterfly Effect (Infinifilm Edition)

Despite box-office dominance during its opening weekend, The Butterfly Effect is better suited to guilty-pleasure viewing at home. When writer-directors Eric Bress and J. Mackye Gruber (who penned Final Destination 2) aren't breaking their own haphazard rules of logic, they're filling this sordid thriller with enough unpleasantness to make eternal damnation seem like an attractive alternative. In a role-reversal from his That '70s Show persona, Ashton Kutcher plays a college-age psychology student who discovers, by re-reading his childhood journals, that he can revisit his past and alter traumatic events, hoping to improve their previously unfortunate outcomes. Instead, this foolhardy experiment in chaos theory (the titular "butterfly effect," popularized by Jeff Goldblum in Jurassic Park) results in a variety of nightmarish permutations, each having dire consequences for him and/or his friends. This intriguing premise is explored with a few interesting twists and turns, but with subplots involving child pornography, animal cruelty, and profanely violent children, it's a stretch to call it entertainment. --Jeff Shannon

A young man struggling to access sublimated childhood memories finds a technique that allows him to travel back to the past. Occupying his childhood body, he is able to change history. But every change he makes has unexpected consequences.

DVD Features:
Additional Scenes:included in the Director's Cut Version of the film
Alternate endings:included in the Director's Cut version of the film
Audio Commentary:with Director and Screenwriters Eric Bress and J. Mackye Gruber
DVD ROM Features:Script-to-Screen Link to original Website Exclusive On-disc ROM Content Exclusive content at infinifilm.com
Deleted Scenes:with commentary
Documentaries:--The Science and Psychology of the Chaos Theory --The History and Allure of Time Travel
Featurette:--The Creative Process --Visual Effects
Other:infinifilm Fact Track DIRECTOR'S CUT OF THE FILM--only on DVD (120 minutes) DTS ES 6.1 Sound
Storyboards
Theatrical Trailer

The Number 23 (Unrated Infinifilm Edition)

Jim Carrey as a schizophrenic murderer isn't convincing, in this melodramatic film about a man obsessed by the Number 23. Joel Schumacher (Batman Forever, St. Elmo's Fire) has unintentionally managed to make a comedy of horrors that really is quite humorous in parts. Walter Sparrow (Carrey) becomes engrossed in a homespun novel about Detective Fingerling, whose life degrades into mayhem because of his obsession with 23's esoteric numerical puzzles. Sparrow's preoccupation with the book follows his botched attempt to catch a nasty dog that bites him, leading one to believe that Sparrow's contraction of rabies might be the cause for his mental degradation. As the story progresses, Sparrow retreats further into Fingerling's world, rife with suicidal sexpots and hardboiled detective sleuthing. His wife, Agatha (Virginia Madsen), also plays Fingerling's girlfriend, sex-crazed Fabrizia, who taunts Fingerling until he stabs her. Back in reality, Walter aims to solve the unresolved crimes in the book, taking it as a murderer's diary rather than as an imagined work. The story is half-baked, though Carrey's portrayal of a mentally disturbed person is what makes The Number 23 comedic. Long, contemplative stares, and over-dramatized acting renders Sparrow a clichéd character, rather than one odd enough to engage viewers. For a better version of almost the exact plot but with a terrorist's twist, see Thr3e instead. --Trinie Dalton

The Last Mimzy (Widescreen Infinifilm Edition)

Comparisons with E.T. are inevitable, but the more modest The Last Mimzy is based on the classic short story "Mimzy Were the Borogoves," by Lewis Padgett (a pseudonym for husband-and-wife writing team Henry Kuttner and C.L. Moore), that anticipated Steven Spielberg's extraterrestrial fantasy by nearly four decades. Chris O'Neil and Rhiannon Leigh Wryn give winning, naturalistic performances as siblings Noah and Emma, whose lives are transformed by a box of mysterious objects they find on the beach outside the family's Seattle vacation home. Among its contents is a stuffed rabbit that Emma names Mimzy and becomes quite attached. Noah and Emma are your typical outsiders. He is not good at sports, and she is interested in astronomy and plays the violin. But the objects work wonders on them. Their brainpower increases exponentially, Noah is able to drive a golf ball hundreds of yards, and Emma begins to communicate telepathically with Mimzy, who reveals his true identity and purpose. Rainn Wilson of The Office displays an off-center charm as Mr. White, Noah's New Age-y science teacher, who discovers similarities between Noah's intricate notebook doodlings and ancient renderings of the universe ("This is so out of my league," he marvels at one point), and becomes involved in Mimzy's back-to-the-future quest. Timothy Hutton and Joely Richardson are solid as the understandably confounded and increasingly concerned parents. Michael Clarke Duncan is a menacing FBI agent who, invoking the Patriot Act, arrests the family after Noah inadvertently causes a citywide blackout with one of the futuristic objects. The Last Mimzy may not reach E.T.'s spectacular heights, but as thoughtfully adapted for the screen by Bruce Joel Rubin (Ghost) and Toby Emmerich (Frequency), it is a transporting, idea-rich family film that is free of gratuitous coarse language (save for Mr. White's offhand classroom use of the word "screw") or bathroom humor. --Donald Liebenson

When Noah and Emma Wilder discover a special box on the beach, they open it and unlock an exciting adventure beyond imagination. Inside they find Mimzy, a magical stuffed rabbit along with other mystical toys, which give the children exceptional powers of their own. Able to move objects with their minds and to solve complex equations, these new wonder kids begin to attract the attention of their parents, teachers... and even the FBI. Surrounding the phenomenon of Mimzy is an awesome secret ¿ one that holds the key to saving the future of all mankind.

Elf (Infinifilm Edition)

This hilarious Christmas film tells the tale of a young orphan child who mistakenly crawls into Santa's bag of gifts on Christmas Eve and is transported back to the North Pole and raised as an elf. Years later Buddy learns he is not really an elf and goes on a journey to New York City to find his true identity.Running Time: 95 min.Format: DVD MOVIE Genre: COMEDY UPC: 794043716829 Manufacturer No: N7168

Elf is genuinely good. Not just Saturday Night Live-movie good, when the movie has some funny bits but is basically an insult to humanity; Elf is a smartly written, skillfully directed, and deftly acted story of a human being adopted by Christmas elves who returns to the human world to find his father. And because the writing, directing, and acting are all genuinely good, Elf is also genuinely funny. Will Ferrell, as Buddy the adopted elf, is hysterically sincere. James Caan, as his rediscovered father, executes his surly dumbfoundedness with perfect aplomb. Zooey Deschanel, as a department store worker with whom Buddy falls in love, is adorably sardonic. Director Jon Favreau (Swingers) shepherds the movie through all the obligatory Christmas cliches and focuses on material that's sometimes subtle and consistently surprising. Frankly, Elf feels miraculous. Also featuring Mary Steenburgen, Bob Newhart, Peter Dinklage, and Ed Asner as Santa Claus. --Bret Fetzer

John Q. (Infinifilm Edition)

It's impossible to walk away from John Q. without thinking about the film that could have been. The pathetic state of health care in the U.S. and the desperate behavior it engenders is not only worthy but edgy material; no doubt director Nick Cassavetes (She's So Lovely) and Denzel Washington (as well as Robert Duvall, Ray Liotta, James Woods, and Anne Heche) were drawn to the provocative pitch. The only snag is that John Q. has about as much edge as an after-school special. Washington plays John Quincy Archibald, a hard-working factory worker whose house stands to be repossessed and whose lovely wife (Kimberly Elise) is at her wits' end. When his extremely cute son collapses while rounding the bases in a Little League game, things go from bad to worse. John Q. takes a downtown Chicago emergency room hostage when he learns that the heart transplant his son needs won't be performed because his health care doesn't cover it. The action-drama that ensues--replete with one-liners, stilted debate, inept snipers, and multiple references to O.J. Simpson's white Bronco--is so littered with clichés that the issues, timely ones, get lost in a crescendo of melodrama. --Fionn Meade

Academy Award winner Denzel Washington stars in this powerful drama about a father who takes extreme measures to save his son's life when his insurance company refuses to cover his heart transplant surgery.

DVD Features:
Audio Commentary
DVD ROM Features
DVD ROM exclusive web site
Deleted Scenes
Documentaries
Theatrical Trailer

Friday After Next (Infinifilm Edition)

Ice Cube (Barbershop) uses his relaxed, raffish charm to glide through the third movie in his Friday series. As Craig (Cube) and Day-Day (Mike Epps) sleep in the wee hours of Christmas Eve, a burglar dressed like Santa Claus breaks in and steals their presents and rent. Thus begins a classically bad day full of unsympathetic family members, obnoxious neighbors, squealing pimps, pot smoking, and sexy babes. No one's going to win any awards for this sloppy installment, loaded with preening stereotypes and half-hearted low humor; Cube generally plays straight man and lets the rest of the cast screech, yowl, and contort their faces, their performances as ornate and ritualized as a Japanese Noh play. But if you're a fan, Friday After Next will give you a modest dose of Cube's goofy humor. John Witherspoon and Don "D.C." Curry return as Craig's eternally disgruntled father and uncle. --Bret Fetzer

Sequel. Craig and Day-Day move back into the hood, where they find jobs as security guards at a strip mall. Hijinks ensue on their first day on the job, which happens to be Christmas Eve.

DVD Features:
3D Animated Menus
Audio Commentary
DVD ROM Features
Deleted Scenes
Documentaries
Full Screen Version
Gag Reel
Music Video
Other
Theatrical Trailer

The Last Mimzy (Full Screen Infinifilm Edition)

Comparisons with E.T. are inevitable, but the more modest The Last Mimzy is based on the classic short story "Mimzy Were the Borogoves," by Lewis Padgett (a pseudonym for husband-and-wife writing team Henry Kuttner and C.L. Moore), that anticipated Steven Spielberg's extraterrestrial fantasy by nearly four decades. Chris O'Neil and Rhiannon Leigh Wryn give winning, naturalistic performances as siblings Noah and Emma, whose lives are transformed by a box of mysterious objects they find on the beach outside the family's Seattle vacation home. Among its contents is a stuffed rabbit that Emma names Mimzy and becomes quite attached. Noah and Emma are your typical outsiders. He is not good at sports, and she is interested in astronomy and plays the violin. But the objects work wonders on them. Their brainpower increases exponentially, Noah is able to drive a golf ball hundreds of yards, and Emma begins to communicate telepathically with Mimzy, who reveals his true identity and purpose. Rainn Wilson of The Office displays an off-center charm as Mr. White, Noah's New Age-y science teacher, who discovers similarities between Noah's intricate notebook doodlings and ancient renderings of the universe ("This is so out of my league," he marvels at one point), and becomes involved in Mimzy's back-to-the-future quest. Timothy Hutton and Joely Richardson are solid as the understandably confounded and increasingly concerned parents. Michael Clarke Duncan is a menacing FBI agent who, invoking the Patriot Act, arrests the family after Noah inadvertently causes a citywide blackout with one of the futuristic objects. The Last Mimzy may not reach E.T.'s spectacular heights, but as thoughtfully adapted for the screen by Bruce Joel Rubin (Ghost) and Toby Emmerich (Frequency), it is a transporting, idea-rich family film that is free of gratuitous coarse language (save for Mr. White's offhand classroom use of the word "screw") or bathroom humor. --Donald Liebenson

When Noah and Emma Wilder discover a special box on the beach, they open it and unlock an exciting adventure beyond imagination. Inside they find Mimzy, a magical stuffed rabbit along with other mystical toys, which give the children exceptional powers of their own. Able to move objects with their minds and to solve complex equations, these new wonder kids begin to attract the attention of their parents, teachers... and even the FBI. Surrounding the phenomenon of Mimzy is an awesome secret ¿ one that holds the key to saving the future of all mankind.

Rush Hour 2 (Infinifilm Edition)

Rush Hour 2 retains the appeal of its popular predecessor, so it's easily recommended to fans of its returning stars, Chris Tucker and Jackie Chan. The action--and there's plenty of it--starts in Hong Kong, where Detective Lee (Chan) and his L.A. counterpart Detective Carter (Tucker) are attempting a vacation, only to get assigned to sleuth a counterfeiting scheme involving a triad kingpin (John Lone), his lethal henchwoman (Zhang Ziyi, from Crouching Tiger, Hidden Dragon), and an American billionaire (Alan King). Director Brett Ratner simply lets his stars strut their stuff, so it hardly matters that the plot is disposable, or that his direction is so bland he could've phoned it in from a Jacuzzi.

At its best, Rush Hour 2 compares favorably to Chan's glossiest Hong Kong hits, and when the action moves to Las Vegas (where Don Cheadle makes an unbilled cameo), the movie goes into high-pitched hyperdrive, riding an easy wave of ambitious stuntwork and broad, derivative humor. Echoes of Beverly Hills Cop are too loud, however, and stale ideas (including a comedic highlight for Jeremy Piven as a gay clothier) are made even more aggravating by dialogue that's almost Neanderthal in its embrace of retro-racial stereotypes. Of course, that's what makes Rush Hour 2 a palatable dish of mainstream comedy; it insults and comforts the viewer at the same time, and while some may find Tucker's relentless hamming unbearable, those who enjoyed Rush Hour are sure to appreciate another dose of Chan-Tucker lunacy. --Jeff Shannon