Go

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Product Description Ronna needs to make some extra cash. Simon wants to escape to Vegas for the weekend. Adam and Zack want to stay out of trouble. But it's not just another night in the life of these unusual characters. They're about to embark on a wild ride that won't end until the sun comes up. desertcart.com Director Doug Liman's follow-up to the winning Swingers is a rollicking adventure that, while lacking in any substantial plot, speeds along with nonstop adrenaline and style to burn. Taking a cue from Pulp Fiction, Liman plays tricks with time and overlapping plots, all of which play out in L.A. and Las Vegas in a 24-hour period sometime between Christmas and New Year's. Slacker grocery-store clerk Ronna (Sarah Polley) is trying to score rent money by selling hits of Ecstasy at a rave party, but winds up inadvertently double-crossing a ruthless dealer (sexy and scary Timothy Olyphant). She's also invading the dealing turf of her coworker Simon (Desmond Askew), a Brit on his first trip to Vegas, which turns nightmarish after a jaunt with pal Marcus (Taye Diggs) to a "gentleman's club" turns violent. And then there's the two soap-opera actors (Jay Mohr and Scott Wolf) who cross paths with Ronna more than once in their attempts to divest themselves of a drug-related charge by participating in a sting. The way Liman and writer John August layer these stories owes a huge debt to Quentin Tarantino, but the comedy and action sequences rocket like a bat out of hell with energy, humor, and genuine surprise. In addition to some hilarious dialogue exchanges--including a classic scene between Ronna's stoned friend (Nathan Bexton) and a Zen cat--Liman works wonders with one the most winning ensembles in recent memory, a cast that includes both established actors and TV cuties. Mohr, Diggs, and especially Polley (doing a 180 from her turn in The Sweet Hereafter) are as excellent as you'd expect, but it's Wolf (of Party of Five) and Dawson's Creek's Katie Holmes (as Polley's best bud) who turn in revelatory work; Holmes especially seems poised to be a breakout star. An amazing cinematic ride--like a roller coaster, you'll want to go back again and again. --Mark Englehart P.when('A').execute(function(A) { A.on('a:expander:toggle_description:toggle:collapse', function(data) { window.scroll(0, data.expander.$expander[0].offsetTop-100); }); }); Review "'Go' is a sharp-eyed view of fuzzy logic." -- Joe Morgenstern, WALL STREET JOURNAL"'Go' is peppered with funny bits. 'Go' has its pleasures . . ." -- David Ansen, NEWSWEEK"A keenly observed comedy. Do not pass 'Go' if you want to see the real goods in blossoming talent . . . John August's screenplay is a cleverly fractured piece of pulp fiction and Liman weaves the three interlocking stories together with dazzling dexterity. 'Go' is a wildly entertaining ride through the night, but it is the hilarious and heartfelt performances of Holmes and Polley that trigger an emotional response." -- Peter Travers, ROLLING STONE"A razor-sharp dark comedy." -- ENTERTAINMENT WEEKLY"Doug Liman and writer John August depict the L.A. underground scene deftly and capture the energy and randomness of being young and prone to making really bad decisions. The pacing is tight, with several inspired touches by Liman. August's script is sharp and funny. The performances Liman elicits from his cast are surprisingly detailed, subtle and engaging. With 'Go' Liman has vaulted to the next level, both as a visual stylist and as a director." -- Louis Gerald, SPIN MAGAZINE"Entertaining and clever. Liman is a talented director. 'Go' has energy and wit, and the performances are right for the material." -- Roger Ebert, CHICAGO SUN-TIMES"Finally a youth-pack movie that works." -- TIME MAGAZINE"Here is a picture that has wit, a hairpin-turn narrative, high-pizazz and ensemble star quality. 'Go' is a prime example of Tarantino cute: pup fiction. The film isn't five minutes old and already you suspect you'll be entranced. John August and Doug Liman have many amusing tricks to play on your. 'Go' is that kind of four-on-the-floor joyride." -- Richard Corless, TIME"If you're looking for the next generation of Hollywood excitement, go see a new movie called 'Go'." 'Go' is another hip comedy that shatters the usual storytelling conventions . . . it has a fresh honest energy missing in so many of today's 'youth movies'." -- Jeff Craig, SIXTY SECOND PREVIEW"Nothing rocked at Sundance quite like 'Go,' Doug Liman's thrillingly structured rave-generation joyride. This is one "Son of Pulp Fiction.' It features an extraordinary cast." -- Owen Gleiberman, ENTERTAINMENT WEEKLY See more Review: A Wild Ride of Nonstop Fun! 'Go' is a Cinematic Gem" - I recently had the pleasure of watching the movie 'Go,' and I can't help but gush about the fantastic experience it offered. 'Go' is an adrenaline-pumping rollercoaster of a film that had me on the edge of my seat from start to finish. Plot Twists Galore: 'Go' is an expertly crafted narrative that weaves multiple interconnected stories seamlessly. The constant twists and turns in the plot left me constantly guessing and utterly engaged. It's a film that keeps you hooked throughout. Outstanding Cast: The cast is a true highlight of 'Go.' From Sarah Polley to Katie Holmes, Jay Mohr, and Taye Diggs, the performances are top-notch. Each actor brings their A-game, immersing themselves into their characters and making them feel incredibly relatable. Rapid-Fire Dialogue: The snappy and clever dialogue in 'Go' is a real treat. It's witty, humorous, and feels true to life. The characters' conversations are not only entertaining but also reveal their unique personalities and quirks. Pulse-Pounding Soundtrack: The music in 'Go' perfectly complements the high-energy atmosphere of the film. It enhances the overall experience, and the soundtrack is a fantastic mix of tracks that capture the late '90s vibe. Visual Style: Director Doug Liman's visual style is a standout. His use of dynamic camera work and unconventional storytelling techniques adds a fresh and innovative dimension to the film. Moral Exploration: Beneath the fast-paced action and chaos, 'Go' also delves into deeper moral and ethical questions. It prompts viewers to reflect on choices, consequences, and the unpredictability of life. In conclusion, 'Go' is a must-watch for anyone who enjoys edgy, fast-paced, and thought-provoking cinema. This film is an exhilarating journey that leaves you wanting more. 'Go' isn't just a movie; it's an experience that will keep you talking long after the credits roll. If you haven't seen it yet, do yourself a favor and embark on this cinematic adventure. It's a wild ride of nonstop fun, and I guarantee you won't be disappointed. Review: "Xiang Kai-Shek. Famous Chinese ruler. Starts with 'X.'" - "Go" is most assuredly an oddity. I remember a review for "Go" back in '99 that states something like, "'Go' is a much better film than it has any right to be." My feelings exactly. The mark of a good director is being able to construct a good film translated from good script material. However, Doug ("Swingers") Liman's sophomore effort ably demonstrates that with style, intuition, and -- above all -- energy, he can craft a magnificent film from shoddy script material. In Hollywood lingo, this is damn near impossible to accomplish. So, thanks to Liman for smashing that preconception. EVERYONE that reviews this mentions "Pulp Fiction" for obvious reasons, so I'll be no different. Yeah, it owes a lot to it. But PF owes big debts to other films, as well. Don't look at this as derivatives of derivatives, although some films definitely are. Try to view "Go" as something more cunning and sneaky than one might first think. First of all, attempting to find depth, soul, and social philosophy inside a movie entitled "Go" seems like a moot point to begin with. So roll with me here. That title itself should suggest that it's less likely to offer humane insight and is more concerned with feeling, sensations, adrenaline -- all of which wrap around the present moment: RIGHT NOW. This here is "Go"'s priority. And it's executed to exhilirating effect. The stories go: RONNA - needs extra shifts at her grocery store in order to make rent money this month. She takes amateur drug-dealer Simon's shift after a 14-hour stint, so he can go to Vegas with his buddies. But Zack and Adam (Jay Mohr and Scott Wolf), two soap opera actors, come calling on Simon but hook up Ecstacy through Ronna (Sara Polley) instead, Ronna dealing in hopes of closing that rent gap. She needs to get pills from Todd Gaines (Timothy Olyphant), but she leaves her friend and coworker Claire (cutie-pie Katie Holmes) with Todd as collateral while she goes off to deal with Adam and Zack. Ronna's "sale" goes dead-wrong, the stash gets flushed, so she opts for selling naive ravers allergy medicine and chewable aspirin to make up the difference, stalling Todd long enough not to find out. But he does. Complications ensue. SIMON - begs Ronna to cover his shift at the "SONS" grocery store, and she accepts. He wakes up in a trunk, on the road to Vegas, and later acquires the location of a rowdy strip club from Todd over the phone (this phone conversation is the chief link between the first two stories). Simon (Desmond Askew) and pal Marcus (Taye Diggs) leave their gutter-butt friends in the room while they scope out this "Crazy Horse". A lap dance and a gunshot later, and the four guys have two pissed-off bouncers on their heels. Complications ensue. ADAM & ZACK - are in trouble. Legal trouble, apparently a charge of possession. They decide to play ball and assist undercover Officer Burke (a disconcertingly funny William Fichtner) in busting Simon to clear their record, but Simon's in Vegas. They arrange a deal at the store later with Ronna, and setup the sting house, Burke being the principle dealmaker. At the deal, Ronna senses she's been had after a remark about orange juice, and Zack clues her to book out of there. The stash gets flushed, Ronna bullies her way out of there with a beer they offered her (she's only 17), and the "sale" ends. But Zack and Adam are NOT out of the woods yet. Though they've done what they were instructed, Burke has ulterior motives for the two and invites them over for an early Christmas dinner. Do they really have a choice? Complications (yes, that's right) ensue. As long and arbitrary as those descriptions are, that is not even a half of what happens in the movie. All the surprises and shocks I left out, but there are many. The timeline jumping and reworking irks QT fans, but that trick's been employed since at least the '50s, so gripe elsewhere. "Go" illustrates how Generation Y (man, I hate these vague labels) is not about planning for the future, but trying to survive this very second. Liman's immediate and flashy camerawork (accompanied by "Traffic" Oscar-winner Stephen Mirrione's gifted editing) accurately captures those sheer moments of frenzy. Rent, sex, drugs, street justice -- all these are the impetuses to shoot the characters through this rollicking 24 hours across Los Angeles and Las Vegas just days before Christmas, and Doug Liman can handle these two Dystopias better than anyone out there, see "Swingers". But "Go" is no "Swingers". It's darker and edgier, much racier -- a thrilling danger zone in which the viewer doesn't expect a stop in the action, and there isn't one. Though I saw "Go" twice in theaters 5 years ago, I could never pinpoint exactly what was the Main Attraction for me. 5 years later and wiser, maybe I figured it out. There is such earnestness and attitude, especially from the near-flawless ensemble of actors, in Liman's guidance that I conceive of him directing the film as if he were sitting three seats down in that dark auditorium watching the story unfold for the first time, right along with us. This is a movie I should be discrediting for its lack of substance (even though it's mainly about ingesting substances), but I'm not. "Go" is just too damn fun: guilty-pleasure filmmaking of the highest order. Sleek, funny, sexy, shot full of vitality, don't ever hesitate to "Go" for broke.