Go - C
Viewed April 10, 1999 at Lincoln Square

I truly have no earthly idea what the heck reviewers are seeing in Go[1], which plays like a complete swipe of the superficial elements of Pulp Fiction : separate but interlocking stories and a large cast of characters spouting pop-culture laced dialogue. It also has the one thing that pops up in almost every Tarantinoesque flick, but not in QT's films : a cartoonish approach toward violence. [2] Like almost every other Tarantino wannabe, it misses what makes ole Quentin interesting as a filmmaker : his generosity with characters, and the very real consequences of violence gives his work a depth and moral heft that hollow pretenders like Go can't even begin to approach.

The superficiality of Go wouldn't bother me so much if at least the superficial elements were interesting, but they only engaged me sporadically. The sense of characterization is shallow; almost everyone in the film is a one-dimensional twit [3], with the exception of Sarah Polley as a grocery store clerk flirting with a career in drug distribution and Morgan Fichter as a narc with a hidden agenda; and most of the pop-culture riff dialogue falls flat[4]. Doug Liman's direction gives Go a bit of energy, but the requisite "replay" of the one scene that starts off each section is handled with little flair and he (and/or his editor) really flubs the film's big car chase scene badly.

[1] Perhaps Sony spiked the drinks with Ecstasy at the critics' screenings...
[2] For Pete's sake, a character gets hits -- hard -- by a car and the only consequence is an apparent concussion!
[3] I just have to add that Katie Holmes is easily one of the dullest actresses to hit the screen in a long time.
[4] Except for the bit about the evilness of The Family Circus. Obvious, but amusing.