In April 2007, “Premier McGuinty and Ontario police chiefs announce tough new measures to combat drunk driving and street racing.” Courtesy of the Office of the Premier.
We become unreasonably annoyed when bands release self-titled (non-debut) albums. With the obvious exception of Beatles-biting Weezer-style colour-coding, this approach strikes us as lazy and uncreative—at best, a misguided attempted at minimalism. We feel the same way about the title of the new Star Trek movie (i.e. “Star Trek“). “Fast & Furious,” however, seems to breach through to a new level of demented beauty; following on The Fast and the Furious, 2 Fast 2 Furious, and The Fast and the Furious: Tokyo Drift, the streamlined title of the new one has become a discussion point in and of itself, with most reviews making sure to allude to it. Certainly that’s the only thing about the movie that interests us. Well, that and that it’s the fifth feature from director Justin Lin, whose 2002 debut Better Luck Tomorrow (sort of like Goodfellas set in a high school) once marked him as one of the most promising American filmmakers of the early part of the decade. Too bad what happened.
Also out this week: Anvil! The Story of Anvil, last year’s Hot Docs opener which we needn’t describe to you because Eye Weekly‘s Marc Weisblott has already penned 6061 words about it over the last fifteen months; Adventureland, the new one from Superbad director Greg Mottola; Fanboys, the Phantom Menace meta-movie that emerged victorious from a battle with Harvey Weinstein over final cut, only to end up sucking, anyway; The Pool, finally getting released after playing Sundance over two years ago; and Sin Nombre, a Sundance prize winner from only a couple months ago that Ebert very favourably compares to Gregory Nava’s El Norte.
As for the reps, the Revue has Hitchcock’s Rear Window and Wilder’s The Apartment, while the Bloor (for which I do some promotional work) has a Sunday double bill of two of Jackie Chan’s most beloved Hong Kong movies, Police Story and Drunken Master 2—the second-last night of films curated by Shaun of the Dead / Hot Fuzz director Edgar Wright, who’ll supposedly be bringing along one of Chan’s stunt people (who’s currently working with Wright on Scott Pilgrim). And don’t forget the auditions for the Rocky Horror-ified Jurassic Park and Blue Velvet, mentioned in Wednesday’s Drama Club.
France, Singapore, Argentina, and Tibet are represented by this week’s ethnocultural film festivals, with the hyper-depressing 2004 NFB doc about TIbet, What Remains of Us, showing on Saturday night—in its original release, all screenings everywhere were monitored by security in order to prevent the Chinese government from obtaining a copy of the film and thus being able to identify the individuals featured in it. And there’s also the Images Festival, to whose website we are not linking because it had us accidentally launch a YouTube-heavy “artwork” that thoroughly fucked up our browser.