In all of cinema, there aren't many filmmakers who would complete a feature-length film and, for whatever reason, scrap the end product and start over. The desire to get films seen, to have the satisfaction of the work resulting in something, often causes us to overlook the fact that some things are better served as educational failures, tucked away on a shelf somewhere far from the public. Some films are better utilized chopped into guitar picks and not all publicity is good publicity. Few artists realize that sometimes you just have to destroy your work before it destroys you.

Fewer still are able to fix it.

Which brings us to Confusions of an Unmarried Couple, the latest brew from the Butler Brothers, two Canadian brothers whose previous efforts include the unseen-by-me Alive and Lubricated (2005) and Bums (2006).

As you may have guessed, this is not their first attempt at Confusions of an Unmarried Couple. The first, shot two years prior on Hi-8, survives as a video diary inter-cut with new footage (shot over one weekend on a Panasonic AG-DVX 100 in 24p for the cost of tapes and, I assume, food). As a result, we see two characters at slightly different ages, as there's no question time has passed between the confessional and the here and now. It's a pretty good unintentional effect, and might even have been a great one with slightly better execution.

The story is this: Dan and Lisa, the titular unmarried couple, find their relationship shattered when Dan discovers Lisa cheating with another woman. Several months later, Dan returns to their apartment to reclaim some of his things. The confessional footage takes place somewhere between the breakup and the rest of the film, which takes place over the course of a few hours. Only the confessional footage is older than that. The characters have aged too much for the timeline to hold up. It's a tiny thing, for sure, and few audience members will even notice, but it's worth mentioning, nonetheless.

The premise is a nice one — simple and direct with echoes of Bergman, and the script is either not quite polished enough or just a little too polished, I'm not quite sure which one. But the film hinges on Butler's performance. Imagine if you will, someone who's a cross between the Hanson brothers from Slap Shot (1977) and Mark Borchardt from American Movie (1999) with black-rimmed glasses, shoulder-length hair, a long goatee, and an orange mesh baseball hat flipped backwards. He speaks excitedly in a thick Canadian accent, rattling off profanities, and operates almost completely by his own single-minded ethos. As an actor, he's serviceable, but as a screen presence, as a character, he's a delight to watch.

Consider his confessional of why cheating with someone so similar to who you're with is pointless, and his list of the types of women he might theoretically like to be with for a change of pace. Clearly this is something he's previously considered in great detail. Or, take the fact that the first item he attempts to take out of the apartment is none other than the mattress, even though Lisa is in the other room. Where the film suffers, where it lags, Butler keeps it going by the sheer force of his charisma. He's easily the best part of the film.

As for the look of the film, it's awfully hard to fault a film shot this quickly, but in a perfect world, we'd lose some of the repetitive set-ups, as at times there's a feeling that visually we're looking at the same scene several times over, just with different words and in different rooms. A bit of variety from the camera could do wonders, but, in a production moving so fast, the need to get the story trumps elaborate visuals, so call it more of a wish than a critique.

Really, though, the important thing is that Confusions of an Unmarried Couple, while far from perfect, is one hell of an enjoyable 73 minutes, and you can't really ask for much more than that.

Starring: Brett Butler and Naomi M. Johnson
Cinematography by: Jason Butler
Written by: Brett Butler
Directed by: Brett Butler and Jason Butler
CAD 500/73 min/Toronto, Canada

You can check out Confusions of an Unmarried Couple on IMDB, MySpace, or the official web page, where you can check out this and other Butler Brothers Brews.

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The spin-off of the daytime drama, General Hospital, General Hospital: Night Shift debuted on Soapnet last night, and if nothing else was made obviously clear, it was that we shouldn't plan for there to be too much semblance between the storylines of this and the parent drama.

Yes, they both take place at General Hospital in the fictional town of Port Charles, New York, and yes you will see plenty of familiar faces, with a splattering of new talent and one legendary performer (Billy Dee Williams plays Toussaint Dubois — an all knowing all seeing janitor). But other than the fact that both Doctor Patrick Drake and Doctor Robin Scorpio are being punished by working the hospital's Emergency Room on Saturday nights, very little in plot meshed with the daytime show.

Biggest case in point, as Robin and Patrick rush out to meet an incoming ambulance in the first few opening minutes, an SUV pulls up. Mac gets out from behind the wheel and opens the back door, and out steps Jason (Yes, just hours earlier on GH he was still in jail and when 3:00 rolls around, he will still be in jail on the daytime version), then an injured Spinelli.

But, let's back up a bit. With the show's opening, I was most impressed with the look and the feel of the show. We begin in the doctor's lounge and Dr. Robin Scorpio in the shower, but wait she's not alone, that would be Dr. Patrick Drake moving in behind her. We get a brief taste of some steamy scrubs action, before we hear both their pagers going off. We were warned, General Hospital: Night Shift was going to be grittier and sexier and so it is.

We go from the showers into the fire. The Emergency Room is loud, crowded, and Epiphany is barking the orders (much like during the day). There is a little boy who fell out of a tree who needs a neurologist and a patient on the way in with possible neurological damage (good thing we have two doctors with that specialty on the floor on this Saturday night). As Robin and Patrick bicker about who's going to take which case and Patrick barks about "where's my patient" as they wait for the ambulance, the camera pans and we see a pregnant woman approaching, a suspicious looking man wearing camouflage who seems distressed and distracted, and the above mentioned scene with Jason and Spinelli arriving plays out.

The ambulance arrives, swerving all over the place and the two EMT's stumble out both laughing uncontrollably. Patrick opens the back of the ambulance to find the patient also in an uncontrollable fit of laughter, and determines nitrous oxide is leaking. He jumps at the guy dressed in camo as he moves to light his cigarette but it's too late, there is an explosion. Patrick is thrown to the cement, the other man is thrown into some combat flashback, and it is Jason who must pull the patient, who is on fire, from the ambulance and put out the flames with his jacket.

With one of the attending physicians now a patient, it would seem the remainder of the episode is spent introducing viewers to the new doctors and nurses, and following through with the medical stories which were set up. It turns out the man in camouflage is a post-traumatic stress patient who has served two tours in Iraq. He has little interest in consoling with Lainey though, he just wants her to prescribe him some Percodan and send him on his way, saying she can't fix what's wrong with him. Near episode's end he is able to steal some during an intense moment.

We find out the pregnant woman who was knocked off her feet by the explosion, is HIV positive when Robin is sent in to bandage her scraped knees because Dr. Lee had an emergency cesarean to perform. In this segment as well as follow ups with Robin and Patrick, and then later Jason, we once again see Robin struggling with her inner desire to become a mother someday, despite her HIV positive status. What's not familiar, however, is Patrick being even just a little bit open to it.

While Jason is waiting for Spinelli to receive treatment, he learns the woman he pulled from the ambulance died. For much of the remaining episode, the student nurses are trying to find out her identity from the hotel she was staying in. All we as viewers learn is the last name – Barrett – the same as Cooper's last name. Coincidence? I don't think so. Especially since rumors have been flying that the role of Brenda Barrett is being recast so the character can return to the daytime drama.

When student nurse Regina finally obtained the mystery woman's identity and took it down to the morgue, she discovers the woman is not dead when she moans and raises her arm. As the closing credits and montage began rolling, we see the gurney surrounded by hospital staff, including the new cardiologist Dr. Julian and a very stunned Nurse Regina wheeling her back into a trauma room and working on her. I look for this story to arc to be one of the few to cross back to the daytime counterpart eventually.

You'd think that would be enough medical drama for the hour, but it's not. Comic relief, as usual comes in the form of Spinelli, completely smitten with nurse Jolene and facing 6 months for the unsafe discharge of the weapon he used to shoot himself in the foot. Of course, hero that the hitman is, Jason steps up and says he accidentally shot Spin. He is arrested at the end of the show, but not before the elderly woman who has patiently waited in the ER for the whole episode, and has been dismissed by nurse Layla as someone who frequents the hospital because she is lonely, collapses against him, bleeding from her side.

Yes, General Hospital: Night Shift is definitely grittier and more focused on the hospital. It has familiar faces in new situations that will probably, in some instances cross over and affect the daytime drama, but not with any symbiotic relationship or continuity. This is its own entity completely. High drama in the form of the patients, the ugliness of financing medicine in the form of Dr. Ford and Miss Sneed, sex appeal in the form of Doctors Scorpio and Drake, and just enough humor to keep it from getting too dark in the form of Spinelli, Maxie, and Cooper, all work together to make this new edition to the Soapnet line-up one of the best things to be associated with daytime drama in a long time.

For the next twelve weeks you can watch General Hospital: Night Shift on the Soapnet network on Thursdays at 11:00 pm, and repeats several times during the week.

Wife, mother, aspiring novelist, and music editor at BC Magazine, Connie Phillips spends most of her time in a fantasy land of her own creating. In reality, she writes about music, television, and the process of writing, when she’s not cheering on her kids at equestrian events. Contact: Phillips.connie@gmail.com

There is no denying the huge contribution that Arnold Schwarzenegger and Sylvester Stallone made to the action genre in the eighties. But it was a certain Bruce Willis who came along in 1988 and completely re-defined the genre starring as New York cop John McClane in Die Hard. The film was a huge success at the box office and naturally two sequels followed in 1990 (Die Hard 2) and 1995 (Die Hard With A Vengeance). Now in 2007 Willis returns as McClane in Live Free or Die Hard.

Thomas Gabriel (Timothy Olyphant) and Mai Lihn (Maggie Q) set in motion a devastating plot to completely take down the computer and technological structure that supports the United States economy. A group of unknowing hackers aid his operation and are killed off one by one apart from Matt Farrell (Justin Long), who is inadvertently saved by Detective John McClane after he is called to pick up the young hacker. Now McClane, aided by Farrell, must track down Gabriel and stop his operation.

Die Hard is still very much the quintessential action picture; if you only own one it has to be that one. Looking at the genre since Die Hard was released, there are a few standout films that come close: John Woo’s Hard Boiled and Face Off, Jan de Bont’s Speed, Simon West’s Con Air, Michael Bay’s The Rock, and James Cameron’s True Lies.

All of those above movies contained the key elements to a great action picture: likable and believable leading man backed up by likable and convincing supporting characters. An over-the-top, menacing, sometimes hammed-up villain. Entertaining and engaging action sequences with spectacular stunt work, occasional use of CGI if need be. Also, witty one-liners from the principal character are a must.

Die Hard 2 and Die Hard With A Vengeance stuck to the above rules, so now does Live Free or Die Hard keep up the tradition? I am glad to report that it certainly does in general. Like most action films, in places it does get a little ridiculous; for example Maggie Q’s character apparently has nine lives. Her fight scene with Willis is very brutal though; Bruce actually ended up with 43 stitches in his head after filming it — ouch.

Overall, the action scenes are highly entertaining and I happily smiled through every one of them. The stunts are fantastic and CGI was only used once to aid the deliciously over-the-top finale. One scene in particular finds McClane out of bullets; the answer? He accelerates a car up to a ramp, dives out at the last minute leaving the car to propel airborne into a helicopter causing it to explode, and they really did perform this stunt with no CGI (now, that’s old skool).

Justin Long comes across as a very likable nerd perfectly playing off Willis’s tough guy. Timothy Olyphant hams it up just enough and is convincing but not very menacing; not surprisingly, he can’t hold a candle to Alan Rickman’s villain in the original Die Hard. Kevin Smith also pops up in a cameo role as a super-hacker known as the Warlock; it could have been cheesy but Smith plays it straight and is very funny.

Willis slips back into character with ease and is clearly enjoying every single second of the movie. The one-liners are aplenty and full of humour with Bruce delivering them straight as an arrow. Willis brings back all of McClane’s mannerisms including his tendency to rant to himself. And yes, he still looks the part.

I must give credit to director Len Wiseman who delivers easily his best film to date. He handles the action sequences very adeptly, keeping the thrills coming throughout the two-hour runtime.

Whilst Live Free or Die Hard never manages to hit the brilliant highs of the original (can’t really say I expected it too, either) it is still a worthy sequel much like parts two and three. Going back to what makes a great action film, this comes very close with the likable lead already firmly in place, and the bottom line is this: the main reason to watch Live Free or Die Hard is Mr. Willis as he expertly drives this very entertaining action vehicle. Yippee-ki-yay!

On Thursday's General Hospital:

There was some tension on Thursday's GH, some of it leading up to the Night Shift which began its run on Soapnet at 11:00 pm last night.

Robin and Patrick received the decree they were to spend the next three months working Saturday nights in the emergency room. Both whined and whimpered about how it was unfair, but ultimately agreed that it was worth it to save the man (who didn't have health insurance), though by the episode's end it seemed in question if the procedure had saved his life. Robin wanted to stay at the hospital and wait for the latest battery of tests, but Patrick insisted they head home and get some rest before their night time shift.

I guess it's a topical issue, hospitals needing to operate in the black to function, but I'm having a hard time understanding where Dr. Ford is coming from. I suppose it's supposed to be that way, the viewer isn't supposed to like the authoritative figure, but it seems like the 'punishment' pill would be easier to swallow if I felt Robin and Patrick were in the wrong.

Diane walked in on Sonny's meeting with Ric and once they were alone he told his lawyer what the DA's evidence was against Jason – the digital voice recorder. Diane admitted it was bad, and would be hard evidence to refute. Bernie showed up to let Sonny know the shipment delivery went horribly wrong: the merchandise was confiscated, two of their men were in jail, and Logan was no where to be seen.

What a wonderful playful scene with Bernie and Diane. Do we have a new power couple in the making here? As far as the rest of it goes — ho, hum, I'm so over the mob stories.

Lulu, in the meantime, fretted over why Logan never showed up back at the club and, with a little help from Maxie's chiding, believed it was because he wasn't interested. After talking about it with Carly, she went to his place and found out he feared what Sonny would do to him for losing the shipment. Logan tried to push her away, saying he wasn't interested anymore, and she almost believed him. That is until she turned to leave and realized he had been shot.

Boy, I can't be the only one seeing a Luke and Laura flashback with this set-up. Lulu with her innocent way about her (though she's certainly not as much as they tried to portray her yesterday) and Logan was all tough, scarred, and trying to push Lulu away for her own good.

Spinelli saw Jerry and Carly talking and jumped in to try and save the "Fair Valkyrie" from the "Unhinged One" only to be humiliated by Jerry. Taking refuge in the diner with Georgie, he came to the conclusion he needed to do something about his wimpiness. Later, Georgie returned his forgotten wallet to him at the penthouse and found him with Jason's gun. Quickly assessing the situation, she decided it would be a good idea to give him a crash course in firearm safety.

It certainly looks like an accident just waiting to happen!

On Friday's GH:

• Sam confronts Jerry. Anna's back. But why? Liz sneaks in to visit Jason.

Wife, mother, aspiring novelist, and music editor at BC Magazine, Connie Phillips spends most of her time in a fantasy land of her own creating. In reality, she writes about music, television, and the process of writing, when she’s not cheering on her kids at equestrian events. Contact: Phillips.connie@gmail.com