Taylor Brandon Burns, a conflicted twelve-year-old TV star from the U.S., runs away from the set - and his problems - while shooting a big-budget film in Canada. His reluctant limo-driver, ... See full summary »
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The lives of Escondido, California residents Cheryl and Stephen Crowe change one morning when they find their twelve year old daughter Stephanie Crowe stabbed to death in her bedroom. As ... See full summary »
Taylor Brandon Burns, a conflicted twelve-year-old TV star from the U.S., runs away from the set - and his problems - while shooting a big-budget film in Canada. His reluctant limo-driver, Rick Schiller, a down-on-his-luck indie filmmaker, is enlisted to find Taylor before the childstar destroys himself. Written by
The movie's producer, Niv Fichman, can be seen sitting in the audience towards the end of the movie, right after Taylor says to Rick, "Your introduction is longer than your film." He is sitting on the left. See more »
When Rick is taking Taylor out on the town in Toronto to help him gain experience with women, initially they are driving northbound on Yonge Street, a few blocks north of Eglinton (as evidenced by the HMV location next to Toys 'R' Us; these two stores are part of the Yonge-Eglinton Centre). Shortly afterward, they are at a cafe called Il Gatto Nero, which is at College and Crawford, a few blocks east of Ossington - and several kilometres to the SOUTHwest of the Yonge and Eglinton area. See more »
[Natalie and Taylor have snuck onto the White House set to have sex]
Taylor Brandon Burns:
So where do you want to do it? The Oval Office, The Greenroom, the Lincoln Bedroom ?
It's your fantasy; I'm Canadian.
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The audio from the film (called "The First Son") that they are making within this movie plays over the end credits. See more »
Disappointing follow-up to McKellar's sublime "Last Night" (one of my favorite films of all time) and "Red Violin", this film is about an obnoxious child actor in the mold of Haley Joel Osment, his equally obnoxious stage mother (Jennifer Jason Leigh), and the hapless indie filmmaker-turned-chauffeur (McKellar) who is assigned to baby-sit them. Minor hilarity ensues from the cross-border (US/Canadian) cultural confrontations and the underage star's affectation of adult nonchalance and knowledge, but not enough to rescue the film, or the viewer. I cannot imagine what possessed the wondrously gifted McKellar to consider such a banal theme. Please regard this as my personal plea to Don McKellar to return to writing and making films of the caliber of "32 Short Films about Glen Gould", "Last Night", and Red Violin".
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