Featuring a roster of Nineties up-and-comers and soon to be never-quite-made-its, Go, from director Doug Liman, is a pleasingly busy and entertaining post-Tarantino yarn about a night gone wrong for a group of drugged-up, thrill-seeking twenty somethings. A celebration of youth and youthful stupidity, if you will!
Multi-stranded and with the then de-rigueur component of interweaving storylines, Go centres around Sarah Polley’s Ronna, a checkout girl seeking to make a quick buck flogging some pills, Katie Holmes’ Claire, a good girl taking a walk on the bad side, Desmond Askew’s Vegas-bound Brit Simon and Scott Wolf and Jay Mohr’s chokey-circling Adam and Zack. Throw in a role-playing cop (in the sleaziest of ways), a traffic accident, talking house pets, accidental shootings and some John Hughes references and Go is a sleek and smart thriller about how far things can go (wrong) in the name of a good time, with Liman competently pulling the strings keeping things light-footed and fast-moving. Kinetic and energetic it may be though, scrape away the surface veneer and all its trashy, flashy distractions, and there is too little going on underneath, and there is that nagging feeling that Go never quite hits the heights or nails that hipness it is so clearly striving for.
Liman, back in 1999 was still a jobbing helmer, writer and producer in search of a career; The Bourne Identity, the gossip columns of Mr and Mrs Smith and even the sun and sex soaked teenage hormones of The OC were still to come, and as such, Go is regarded as somewhat of a lesser entry in the New Yorker’s oeuvre which perhaps explains why it has taken such a time to reach high definition. It also perhaps explains why there is not an awful lot going on on this particular BD. Liman and editor Stephen Mirrione sit down for a diverting chat track, but a fluff-heavy and decidedly short ‘Making Of’, a clutch of music videos (Len – remember them?) and some deleted scenes are the only other extras on display here. No depth, with little real substance and, ultimately, it will struggle to satisfy, much like the film itself really.
EXTRAS ** Feature commentary with Doug Liman and editor Stephen Mirrione; Making Of; Music Videos; Deleted Scenes.