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To make any film about the supposed end of the world, there should be some
facts & realism
1. We are never told why these people believe this.
2.Location is New Years Eve In Toronto Canada . SO PLEASE SOME ONE TELL
ME WHY WAS THEN STILL SHINING AT MIDNIGHT & WHY(based on the costumes) DID
IT SEEM LIKE SEPTEMBER
3. The acting was in that neo-au-natural style, that needed a director who knew how to do it.
4. the individual story pieces were all dreary & without any purpose. I could go on, But I do not want to make this as boring as the film.
rating *1/2 (out of 4) 2 on IMDB scale
thank you I am as always
JAY HARRIS (aka)SIRBOSSMAN
As the end of the world approaches, two lonely souls find companionship together in this unusual apocalyptic drama from Canada. The film is very light on special effects and deliberately skirts over the pseudoscience of what is causing the apocalypse to instead explore the diverse ways that human beings would likely approach a predicted doomsday. With most of the characters quite calm and collected, the film does not always convey the feeling of an impending apocalypse, however, the use of constant brightness (even late at night) serves as a reminder that things are not quite right. The main setback of the film in any case is the fact that it spends a lot of time on supporting players such as David Cronenberg's workaholic executive and a young guy interested in trying every sexual experience under the sun before dying - all of whom have more fascinating quirks that the two protagonists, always rationalising everything around them (that said, their rational carjacking of a vehicle is a certain highlight). Whatever the case, the film concludes on a surefire memorable note and the frequent playing of gas company phone call messages in the background injects a welcome dose of humour into the rather grim proceedings. Director Don McKellar would later go on to write the terrific 'Blindness' for Fernando Meirelles, but this is an interesting stepping stone of sorts movie.
Easily one of the most thought-provoking, quirky, fantastically well-acted movies I've ever seen. And felt honest the whole time. Makes you wonder what is meaningful and what is sacred. All in an environment that appears to have no inherent meaning. Unique, for me, in it's approach to romance, which electrifies the film throughout. Takes one from wondering if it's a zombie apocalypse film to wondering about the essence of meaning. I'd die a happy man if I thought films like this were being made every day.
Last Night is a masterpiece. The genre is old-fashioned; movies about
the end of the world have been around for a long time. What is
interesting about Last Night is that it treats the premise with some
seriousness, as it follows the lives of some rather ordinary folks in
Toronto as they are busy spending their last six hours on Earth. There
is Sandra, a woman stocking up on supplies for her mutual suicide with
her husband, when her car gets totaled by a mob and she is stranded on
the wrong side of town. There is also Patrick, who is mourning the loss
of his wife, who decides he would rather spend his last hours on a
rooftop with Beethoven than with his family. Another man decides to
spend all of his last hours enacting all of the sexual fantasies that
he has been storing up over the past many years. One other family
throws a last Christmas party, even though it is not Christmas.
As the movie progresses the stories interweave as the characters interact. What makes this movie special is that there is nagging sensation that, no matter what character we are looking at, there appears to be some sort of disconnect between the fulfillment that the characters seek in their last days compared to what they are actually able to achieve. We come to realize that, although all of the characters understand that they are going to die, they really have no clue what this fact really means for them. Some achieve their dreams--one character give a premier piano recital that was clearly a lifelong dream, but the problem is that it is all done in the midst of a reality that is slipping away. Like the characters, we in the audience suffer from the same problem--we can't believe we are facing obliteration.
Consequently, this is a great movie, because it really puts you in a place where you haven't been. The end is an emotional crusher--as the people really come to life for you, you wonder how they might be so easily be swept away. A tremendous film.
Sometimes a movie doesn't necessarily have to tell you everything what
it's about, simply just how it can go about the details and characters
in its story. Case in point, Don McKellar's Canadian
knocking-on-Apocalypse's-door flick, Last Night. Throughout the film, I
was wondering if there would come a point where the revelation as to
why or how the End of the World was coming around. There isn't any, or
at least something that has a clear definition. But there are eerie
signs of something just 'off', and it comes with the mere presence of
the sun: at first I wasn't thrown off by the sun being out at 6 PM,
even 7 PM (the time-span for Last Night is 6 hours, 6 PM to 12 AM on
the dot)... but the sun doesn't set, it just stays there and doesn't go
away. Now that's scary - and certainly convenient for a budgetary
This is a low-budget movie that takes the apocalypse as something serious, but not in every single moment. In fact McKellar's approach is to make this at times almost 'quirky', eccentric, and even awkward comedy. At one point Patrick, character McKellar himself plays, is having a big dinner with his family and some old family friends. The mother starts to cry at the table, but no one really goes to console her or to say anything, they just keep on eating the turkey and lamb she's prepared - this is the kind of scene I might expect on the TV show Louie, where misery turns out to be uproarious comedy all based on the timing and the personality of the characters in this dreadful situation (in other words it IS a serious moment, but funny because of the reactions and how people feel about one another in that moment). And there's a whole sub-plot with a character who has been, over two months, going through sexual conquests like a check-list... and he finally approaches his friend Patrick about being a, uh, part of that.
The main thrust of the story is how Patrick and Sandra (played by Sandra Oh, no name change apparently) go about their last 6 hours, with some assorted characters drifting in and out like Sarah Polley as one of Patrick's disaffected teenage siblings, and David Cronenberg as a bureaucrat going about his last business in a giant office to call people in this city to tell them about the gas staying on until 12 PM, with pretty much every call being a voicemail. But it's less about the story of it than just following these people and finding how they deal with this despair, or not deal with it, and while some go out in the streets and loot and kill and pillage (the film opens with Sandra's car being flipped over as she goes into an empty store to get some items for no good reason at all except it's apocalypse time, better flip some cars and stuff).
There is some dramatic power here too, though in small doses and in large part coming from Sandra Oh's performance (I'd forgotten how good she can be, such as in Sideways or on the HBO show Arliss, where she was good enough for me to remember decades on). She carries a lot of weight just by the nature of her circumstance: she has to find her husband so they can carry out their simple plan together at the stroke of midnight - not being able to find a car makes things further complicated, and Patrick makes interesting by how he reacts to her plight. He's not someone who is a super-take-charge kind of guy, but he's not about to sit in the corner with his family and give up either; he's the sort to approach everyone with some decency, even in the midst of befuddlement (i.e. being approached for sex by a male friend, in a sort of 'well, it's on my list and all' sort of rationale).
At times I wasn't sure if McKellar was great for the part he wrote for himself, but at other times I don't know if anyone else could play off the awkward tension and sense of sympathy (and empathy) he carries across. He gets good work out of everyone here, most notably Cronenberg - always an underrated actor - as the man who always followed the clock and still is following it until his end (my favorite scene in the film is when he is met with a young man with a gun in his hand, who isn't sure if he can shoot him, though he may just do that, one of those moments that FEELS so real and raw).
This is not to say every moment in the film entirely works, or that every attempt to be funny in its soft-cringe like manner is effective, and it actually takes a few minutes early on to gather some momentum. But there's a rhythm to it that is unique, lines like the one in the summary above that come from the heart, and there's a constant sense of 'let's try something you may not have seen before with a 'This is The End' story, down to its ambiguity around why things are ending (or for how long), and some of it comes down to it being so darn... Canadian. You may never see another apocalyptic movie with so many polite people!
It's the last night on Earth. There are six hours left before an
unknown calamity. Patrick Wheeler (Don McKellar) wants to be alone for
the event but he has to go to a family dinner first. Sandra (Sandra Oh)
is going home but her car gets trashed. Craig Zwiller (Callum Keith
Rennie) has a series of women come over to his apartment.
I think the movie needs to concentrate on McKellar and Oh. It would be more compelling to make this a buddy road movie. They could go to Wheeler family dinner, meet the various characters and go back to his apartment. I don't think Zwiller's story is that compelling. The other characters add some quirkiness but none of them are that compelling. It would be better to make these actors support the McKellar Oh story. This is an interesting different kind of apocalypses movie but I only enjoy parts of it.
This came out during a string of American blockbusters about threats to
the world, which always end in an American hero saving the day under
improbable circumstances and CGI. It struck me as really Canadian to
instead imagine "What if the world was about to end, and there was
nothing we could do about it but accept it as inevitable? What would we
do with our final time here?" I love that it's not about WHY the world
is ending - the details of why are not important, or how the exact time
is known. It is about giving a context to see how different people
would react to such a situation, the decisions they would make, who
they would want to spend time with or things they might want to do one
last time. There are some great actors in this film giving believable
performances, and it gets you thinking about how you might react to
One of my favourite films.
Hello I read one commenter's comments (circa 1999) and have to agree with them, he/she didn't understand the movie at all and is clearly appreciative of the hit-me-over-the-head with the message film school. This is a quiet, uplifting, introspective investigation of our own psyches. And if anyone truly believes that humanity is going to gather together in a quiet sense of community at The End, they haven't been reading this news. While there are pockets of ideal humans living life the way they might in Northern Exposure, mob mentality rules when run by fear and adrenaline as the primary fuel for turning the page of tomorrow and find the book after page 1998 is blank. The film's core ingredient is the simple stimulation of, in witnessing a cross-section of possible life's end scenarios, the equally simple question -- What Would I Do if I knew the world was coming to an end, e.g., October 1, 2008? Not the terrorist attack on the community, but the end-sign in the cosmological equation... THAT, for me at least, is the point of the film. And very very few film productions succeed in creating that sort of personal, visceral, intimately reactive response. If any viewer didn't feel it to the core, I am truly sorry for your loss. --rbnewsnapa--
At first this is a multiple story piece interlinked by similar acts, an
un-named genre including Traffic, Amoes Perros, Requiem for a Dream,
Crash, Babel. Most of these get great reviews for a new ability to show
multiple views of a perspective be it drugs, dogs, epiphany, race or
relations. I reached this movie late in a search for philosophical
sci-fi and I love what unfolds from a holocaust situation such as this.
I believe this piece has a good injection of the self and Don Kellar's
first piece that showed his life, his friends, his city and all that
was on his chest. I've seen in photos a slight mis-look in his eyes and
I think the world he lives in and creates are very close.
Leader in an unknown field.
i just like to add to your evidence #1 ###1. The film never mentions WHEN the people found out the world was going to end. They very likely could have known about the impeding doom for *****months or even years***** in advance. I'm sure after an initial state of panic, things died (no pun intended) down to the state we see in the film.### I just like to say that they couldn't have been informed earlier than a few weeks, the information of the end of the world. As you saw (i hope) at the beginning of the movie, while Sandra Oh was shopping that the shop still had, not lot, but some foods left on the shelves. Especially why i think that the people got informed of the tragedy in a less than a month is because of the conditions of the food and the champagne evenmore the clearness of the shop. If they got informed of the news as you said "...months or even years..." there will be no food left in the shop, even more surprising fact is that the shop wasn't out of food. even that they were informed "...months or even years..." earlier. Thinking logically, people stopped working a "...months or even years..." earlier, there will be no food coming in but considering the fact that there is still chunks of food left, not chunks, but big pieces like fine champagne, they couldn't have been informed in advance "...moths or even years..." earlier the end of the world.
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