It's 18:00 in a somewhat deserted Toronto on the last day before the scheduled end of the world at midnight, the end which has been known now for months. Most people are treating midnight as a matter-of-fact event with little sense of panic. In fact, many are celebrating this last day. Most have very specific wants for this last day and will do whatever they need to to make those wants happen. And some, such as Duncan and Donna with the gas company, are working, ensuring that the masses are served and comfortable during the final hours. The Wheeler family are marking the last day by having a Christmas party, although sullen adult son Patrick, his thoughts in part stemming from being recently widowed, has made it clear he wants to be alone in his own home at the end. Patrick's wants may be in jeopardy when a woman named Sandra - Duncan's wife - lands on his doorstep. Sandra is stranded, trying to make it across town to her own home so that she and Duncan can carry out their own last ... Written by
When Craig agrees to lend his car to Sandra and explains what kind of car it is, he tells her it's a 1970 Lime Green Super Bee with dual overhead cams. The Super Bee was never available with an engine using dual overhead camshafts. In 1970 the Plymouth Super Bee was available with three choices of engines. Base engine was the 383 Magnum, then as options there was the 440 "Six Pack" and the famed 426 "Hemi". All of these used the Overhead Valve design or "OHV" design. See more »
What I do find pathetic is people who, as soon as they hear that the world is ending, they rush out and try to hook up with someone like it was closing time at Studio 54.
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special thanks to all the McKellars, Pinky & Tracy (with love) See more »
(Last Night) I Didn't Get to Sleep at All
Written by Tony Macaulay
Performed by The The 5th Dimension (as 5th Dimension)
Courtesy of Polygram Music Publishing Ltd.
Reproduced courtesy of Arista Records Inc. and BMG Music Canada Inc. See more »
There are films that are great, but by virtue of their intelligence and understatement fall through the cracks - or go on over the years to achieve 'cult' status. Paul Auster's 'Smoke', or Thomas McCarthy's 'The Station Agent' are a couple. This is such a film, and for fans of these types of 'smarter', less 'hollywood' productions there is no greater cinematic experience than finding such a gem. This is unpretentious and real - and ultimately honest and rewarding. Don McKellar has crafted something really special.
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