The infamous story of Benjamin Barker, AKA Sweeney Todd, who sets up a barber shop down in London which is the basis for a sinister partnership with his fellow tenant, Mrs. Lovett. Based on the hit Broadway musical.
Helena Bonham Carter,
A boy named George Jung grows up in a struggling family in the 1950's. His mother nags at her husband as he is trying to make a living for the family. It is finally revealed that George's father cannot make a living and the family goes bankrupt. George does not want the same thing to happen to him, and his friend Tuna, in the 1960's, suggests that he deal marijuana. He is a big hit in California in the 1960's, yet he goes to jail, where he finds out about the wonders of cocaine. As a result, when released, he gets rich by bringing cocaine to America. However, he soon pays the price. Written by
George's last line, "There are no more white horses or pretty ladies at my door" is a reference to the Emerson Lake and Palmer song "Lucky Man". See more »
When George and Mirtha are fighting, George's mother, not a crew member, can be seen from the kitchen. She was originally supposed to be in the scene, but the long shots were not used, and her presence seems incongruous. See more »
That's a nice boy. Go get 'em, Dulli.
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A photograph of the real George Jung appears at the end of the film, as the credits start to roll. See more »
Written by Allen Collins, Ronnie Van Zant
Performed by Lynyrd Skynyrd
Courtesy of MCA Records
Under license from Universal Music Enterprises
Published by Universal-Duchess Music Corp. (BMI)
o/b/o Itself and Get Loose Music, Inc. See more »
Based on a true story of how the American cocaine market was founded, this is a lot more funky than I had expected. A thumpingly good soundtrack right from the start and Johnny Depp cruising in to be a convincingly laid-back big-shot - almost like a graduate from Boogie Nights. Penelope Cruz manages to be blisteringly erotic in a few well-crafted scenes and without removing a stitch of clothing. Later, instead of following the usual pattern of despair in the second half where most drug movies home in on drug dependency, Blow refreshingly focuses on the emotional losses suffered by the characters. A film that just about manages to be more than the sum of its parts, it would have made a nice sort of pre-quel to Traffic, but it stands alone in fine form. And it's moving rather than depressing.
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